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[B E A C H H O U S E V I L L A S ]
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FOUNDER & CO-FOUNDER’S LETTER ترشع و شیع
सुख
奢侈品
Lujo
Luxe
Luxus
Lusso
Dear lovers of luxury
W
e’re so pleased to welcome you to this issue of Simply Abu Dhabi, your luxurious guide to all the best the world has to offer. Whether you’re a long-time reader, or new to our publication, you’ll be sure to find something to captivate you within these pages. Our cover feature for this, our twenty-third issue, introduces one of the year’s most exciting restaurant launches: Tamba. Of course Abu Dhabi’s thriving foodie scene has no shortage of spectacular restaurants, so for one to stand out as something truly new and unique, it must have that extra something special. And in Tamba’s case, it’s nothing short of the rebirth of the Indian restaurant as we know it. Tamba has completely modernised the Indian dining experience in a way no one else has done, and once you’ve read the story and seen the gorgeous photographs of the fabulous setting and incredible food, you’ll want to experience it for yourself. Also in this issue, we bring you three must-see travel destinations, each utterly, uniquely fantastic. Discover the modern-day Dutch Golden Age with a guide to travel in Amsterdam, brought to you by our man on the scene, Nick Rice. Incredible art collections, stylish hotels, rich cultural attractions and a vibrant nightlife – Amsterdam
holds all this and more. And from either side of the Mediterranean, we let you in on two exciting hotel offerings from which to explore two new perspectives on the region. The Serras boutique hotel puts you in the heart of magical Barcelona, whilst the latest property from the world class Mandarin Oriental collection welcomes you to Bodrum, where ancient beauty meets elite luxury. Simply Cars’ Damien Reid is back to share his latest adventures from the track with you, as he takes the Ferrari California T, the Mercedes-Benz S 63 AMG 4-Matic Cabriolet, and the legendary Porsche 911 Turbo out for a spin. And of course our Simply Fashion editor Marcella Clark is on hand to fill you in on everything you need to know about the autumn/winter 2016 collections from your favourite top designers. Simply Beauty’s Sophie McMullan brings you updates from the world of skincare, fragrance and cosmetics, and as ever, we feature a luxurious assortment of timepieces and jewellery from the leading craftsmen and designers of our age. And if you’ve ever been interested in filmmaking, you’ll love the Simply Film feature, as Nick Rice takes us behind the scenes at the Met Film School in London. We truly hope you enjoy this edition of Simply Abu Dhabi and that it inspires you in some way. Whether you travel to one of our featured destinations, enjoy a spectacular evening at Tamba, or anything else – be sure to Instagram your adventures and add the hashtag #simplyabudhabi to share!
Wishing you all the very best of life and luxury.
Jordana & Arnie
W E L C O M E T O S I M P LY A B U D H A B I :
“Your Passport to Pure Luxury”
Arnie S Hira – CEO & Founder Arnie.Hira@simplyabudhabi.com Jordana Imogen Lynch – Managing Director & Co-Founder Jordana.lynch@simplyabudhabi.com
Wishing the World: Peace, Prosperity & Progress in 2016
Manoj S Hira – Director – info@nowaiting.co.uk Editor: Arnie S Hira Co-Editor: Jordana Imogen Lynch Copywriters: Jordana Imogen Lynch, Arnie S Hira
Management Team Creative Director: Colin Statham - colin@simplyabudhabi.com Managing Editor: Kerry Smith - kerry@simplyabudhabi.com Editor at Large: Nick Rice - nick@simplyabudhabi.com Fashion Editor: Marcella Clarke - marcella@simplyabudhabi.com Beauty Editor: Sophie McMullan - sophie@simplyabudhabi.com Time / Travel Editor: Nick Rice - nick@simplyabudhabi.com Car Editor: Damien Reid - damien@simplyabudhabi.com Sub Editor: Caroline Stupnicka - caroline@simplyabudhabi.com Media Investment Director: Anthony Grundy – anthony.grundy@simplyabudhabi.com Sales Director: Ross Fenton – ross@simplyabudhabi.com Director of Photography: Charn Kamal Singh – charn@simplyabudhabi.com
Like our Facebook page via http://www.facebook.com/simplyabudhabi Follow us on instagram via http://www.instagram.com/simplyabudhabi or via the app @simplyabudhabi Images: All photos used in Simply Abu Dhabi are by Getty Images/Shutterstock/GoRunway/ Distribution: Abu Dhabi Media Company Circulation Director: Mr Mohamad Al Zarouni Operation Manger: Mr. Khaled Ibrahim Distribution In charge: Muzammil Sulaiman Disclaimer: The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on the information contained in this publication, which is provided for general and entertainment use and may not be appropriate for the reader’s particular circumstances. The intellectual property and the ownership of trademarks are acknowledged. No part of Simply Abu Dhabi or any parts of the contents thereof may be duplicated or reproduced, saved, stored in a retrieval system or communicated/transmitted in any form without written permission of the publishers. An exemption is hereby granted for extracts used for the purpose of fair and reasonable review. Simply Abu Dhabi Limited HQ is Elizabeth House, Elizabeth Street, Manchester, M8 8JJ, United Kingdom.
Born in Abu Dhabi, Designed in Manchester, Distributed throughout the world.
73 S I M P LY A B U D H A B I
C O N STE L L ATI O N P CONSTELLATION PETITE E TI TE S SECONDE ECO N D E THE TH E FIRST F I R ST MASTER M A STE R C CHRONOMETER H R O N OME TE R F FOR O R WOMEN WOME N Comple Complexx in creation, creation, yyet et beautif beautiful ul in look looks, s, it se sets ts a ne new w sstandard tandard ffor or pr precision ecision that has has flourished flourishedfrfrom from our our commitment commitmenttto o inno inno innovative vative w watchmaking. atchmaking. Exclusively Exclusivelyy at O OMEGA MEG EG GA Flagship Boutiques and select sele selected ed rretailers etailers w worldwide orldwide
CONTENTS
Simply Tamba Tamba Restaurant – The Rebirth of Indian Dining ............................................................................................................................... Page 74 Simply Time .......................................................................................................................................................................................................... Page 98 Harry Winston, Blancpain, Breguet, OMEGA, Franck Muller, Rolex, Richard Mille, TAG Heuer, Dolce & Gabbana, Cartier, Salvatore Ferragamo, Versace Simply Jewellery ................................................................................................................................................................................................. Page 126 Harry Winston, Cartier, Tiffany & Co., FabergÊ, Van Cleef & Arpels, Messika Simply Fashion ...................................................................................................................................................................................................... Page 140 Women......................................................................................................................................................................................................................... Page 142 Dolce & Gabbana, DSquared2, Mulberry, Versace, Victoria Beckham, Salvatore Ferragamo, Lanvin, Coach Men ................................................................................................................................................................................................................................ Page 180 Dolce & Gabbana, DSquared2, Versace, Coach, Pal Zileri, Salvatore Ferragamo Childrenswear ....................................................................................................................................................................................................... Page 206 Bonpoint Simply Beautiful .................................................................................................................................................................................................. Page 209 Hourglass Cosmetics, Sarah Champman Skincare, Dolce & Gabba Fragrance Simply Property ................................................................................................................................................................................................... Page 216 The Historic Kilkee House Estate Simply Travel ......................................................................................................................................................................................................... Page 222 Mandarin Oriental, Bodrum; Guide to Amsterdam; The Serras Hotel, Barcelona Simply Film ............................................................................................................................................................................................................. Page 250 An Interview with Steven Speilberg; The Met Film School, London Simply Cars ............................................................................................................................................................................................................. Page 258 Mercedes-Benz S63 AMG 4-Matic Cabriolet, Ferrari California T, Porsche 911 Turbo, Aston Martin DB11 Simply Aviation .................................................................................................................................................................................................... Page 280 The Gulfstream G500
Simply Abu Dhabi and Simply Abu Dhabi.com are intellectual property of Simply Abu Dhabi Limited, Elizabeth House, Elizabeth Street, Manchester, M8 8JJ. U.K. Fax: 0044 161 832 4566 / Skype: simplyabudhabi
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76 S I M P LY A B U D H A B I
The rebirth of Indian dining H
omey, earthy and fragrant, Indian food is one of the bestloved cuisines in the world. From the UK to the UAE and beyond, Indian dining is treasured for its comforting and familiar flavours, scents and colours. But rarely is it associated with the fine dining concept in the way high-end French or Japanese restaurants often are. And you’d certainly not be likely to connect it with modern gastronomy or trendy lounge culture. Until Tamba. In one bold stroke, with its vibrant, exciting spring 2016 launch in Abu Dhabi, Tamba has overturned all perceptions, elevating and completely modernising the Indian dining experience. From the setting to the music and, above all, to the food, Tamba is a source of constant surprises and unique delights – and it has quickly established itself as one of Abu Dhabi’s essential foodie destinations. Indian restaurants generally tend to come in two varieties: the casual café style, and the staid 5-star hotel version. From the moment you step through the entrance into Tamba’s stunning setting, however, you sense you’re about to experience something completely different. There’s a tantalising hint of the East, yet it’s nothing you can pinpoint straight away. Shimmering glints of copper catch the eye, while the subtly alluring house music draws you in further to the sumptuous interiors, swathed in a palette of deep browns and turquoise blues. The mood is chic and modern, yet warmly inviting, setting the scene for an extraordinary dining experience.
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78 S I M P LY A B U D H A B I
Akshay and Shalini Dosaj
The Tamba story The cool and relaxed vibe at Tamba belies the three years of painstaking forethought, research and planning that were invested into every last aspect of the concept and execution. The result feels effortless and thoroughly organic; visitors to Tamba won’t see any signs of the growing pains that can sometimes plague new ventures. Owners Akshay and Shalini Dosaj, alongside restaurant development manager Rupesh Shetty and the rest of the Tamba team, prepared everything down to the most meticulous detail, so that Tamba could hit the ground running – fully realised and firing on all cylinders, from the menu to the highly trained staff to the décor.
About the name “Tamba is a Hindi word that means ‘copper.’ But it also has meanings in many languages and nationalities, from Africa to Japan to even Estonia. In the pure Hindi sense of the word, the name appealed to us for our Indian-inspired restaurant, as copper is one of the earliest materials used for cooking vessels, so the link to kitchens and cooking was very strong. We gave a lot of thought to it, but in the end, that’s the reason we picked Tamba: at its heart, it’s a pure Hindi word, but it’s very international; the meaning in Hindi links to kitchens, and it fit perfectly with what we were trying to create – a restaurant that is Indian at its core, but with a universal appeal, using ingredients and techniques from around the world, and incorporating global sounds and visuals – all brought to you by an international team.” – Akshay Dosaj, Tamba co-creator and owner In was in 2013 that husband and wife team Akshay and Shalini Dosaj first landed on the Tamba concept. Whilst Akshay was raised in Britain and Shalini in Al Ain, both share an Indian heritage, as well as an affectionate respect for the culture and food of India. But despite an abundance of Indian-themed restaurants in the UAE, the UK and beyond, the pair felt that something was missing – that Indian dining had not evolved in many ways, and that it wasn’t keeping pace with the burgeoning food scene in Abu Dhabi. That’s when inspiration struck: what if there were an Indian restaurant that was fun, cool and trendy; one that could bring a fresh new appeal to a wider audience, yet sit alongside some of the finest restaurants in terms of the quality and innovation of its food? Thus the idea for Tamba was born. Once Akshay and Shalini came up with the concept, they began to scout around Abu Dhabi for locations. It was love at first sight when they saw a 5,500 square foot space located on the 6th floor in the World Trade Centre, in the area that is now called The Hub at the Mall – a prescient choice, as three years later The Hub is one of the hottest dining destinations in Abu Dhabi. With beautiful floor-to-ceiling windows on three sides, allowing natural light to pour in, a fantastic skylight running right through the centre, and a 2,500 sq ft outdoor terrace, the pair knew they had found the ideal spot to launch their vision.
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A visual feast Tamba’s signature design, an intriguing blend of opulent touches and earthy appeal, was brought to life by Dubai-based LW Design, the firm behind a number of renowned hotels and restaurants across the UAE and internationally, while the fit-out was accomplished by the exceptional team at Highgate Interiors Design in Dubai. As Akshay Dosaj said, “We wanted the design to be a feast for the eyes.” It’s certainly delivered on that score, then gone above and beyond. The first glance of the space is certainly impressive enough, as your eyes take in the exquisite décor, the overhead skylight, the incredible view into the kitchen, and the central bar area with its wonderful burnished temple bells around the top. But you find you want to keep looking: every nook and corner of the restaurant offers some new visual interest, some new detail to change your perceptions and offer a new experience. Indeed, as anyone who’s been to Tamba more than once will tell you, each time you visit can present a fresh perspective. There are multiple dining experiences available – there’s the chef’s counter, a raised table right in the heart of the restaurant offering the best view of the show kitchen and where the chefs come out and speak to you directly. At the other extreme, there are three private dining rooms at Tamba (two intimate ones that each seat six, and a larger one that can seat fourteen). The private dining concept was very much created with Emirati and other Arabic guests in mind, although it’s proven quite popular as well with other visitors who are seeking a more secluded, exclusive space in which to enjoy the restaurant. Then there is a variety of seating from which to choose across the loft-like space. Whether you opt for booth seating with a group of friends, a quiet little corner table for two, the lively bar/lounge area, or the glamorous outdoor terrace – each one offers a unique experience. A subtle yet deliberate design feature is that there are no clear lines of sight across the restaurant. Indicative of the level of meticulous planning that went into Tamba’s creation, it’s a neat bit of engineering that on one hand affords diners a bit more privacy and on the other it provides a nice buzzy vibe even when the restaurant isn’t completely full. Wherever you sit to enjoy your meal, your eye is treated to a remarkably harmonious medley of materials, textures and colours: wood, stone, leather, cloth, steel and brass, lush browns, metallics, touches of turquoise, and, of course, copper and verdigris (the colour copper turns when it oxidises). With the fantastic soundscape provided by the resident DJ creating the background mood, Tamba is really a treat for all the senses – even before you’ve had your first bite of the amazing food. Even the crockery is visually interesting and eclectic. Sourced from thirteen different suppliers from six different countries around the world – Spain, Thailand, India, Japan, Germany and South Africa – the wonderful collection was the result of a thorough vetting process, like every aspect of Tamba. The plates and serving platters, in their array of earthenware textures, irregular shapes and warm
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colours, fit very much into the Tamba style of dining. Ultimately, the food at Tamba is for sharing – it’s been likened to an Indian style of tapas – and the variety of different plates and interesting shapes adds an element of informality and sociability to the meal. Around the restaurant, the beautifully designed, bespoke elements and artefacts tell the story of Tamba: that of an Indian heritage combined with a global appeal. The décor includes exquisitely intricate printed chain screens, crafted in Spain exclusively for Tamba, that are integral to creating both the quiet corners and open spaces that define the environment. A series of traditional temple bells, the largest of which is 6’ by 5.5’, was custom-made in India, to hold pride of place over the corner of the bar area. Their variegated shades of copper and verdigris underscore the origins of the restaurant’s name, and provide a focal point to bring all the visual features together in complete harmony. Even the tandoor ovens, while fully authentic, fit in with the design concept. They were purchased in India, but then were specially treated to achieve an oxidised verdigris copper colour, and are visible at the centre of the show kitchen as beautiful objects in themselves. The furniture that adorns the restaurant was largely made in the UAE, and was subject to the same intensive trial-and-error testing that went into planning not only the aesthetic details, but the practical ones as well. While beautiful and impeccably crafted, the furniture is also designed for maximum enjoyment for guests. There are no uncomfortable chairs, no table that’s slightly too high, or that has its legs positioned such that you’re knocking your knees against it when you’re dining. Again, it’s a case of the team having carefully orchestrated the little touches that you may not even be aware of at the time, but that add immeasurably to the complete experience. The Tamba menu: Breathing new life into old traditions As spectacular as any restaurant setting may be, at the end of the day, what really matters is the food. And at Tamba, the food is an absolute revelation. The cuisine is Indian at its core – but it’s not the typical Indian food you have come to expect. While the menu incorporates many traditional and authentic Indian ingredients and flavours, Tamba presents them in a whole new light. Ingredients and influences from all over the world – Asia, Europe, the Middle East – are referenced throughout the menu, the flavours orchestrated in innovative ways to achieve perfect harmony. What’s more, the cooking techniques are not typically or strictly Indian either. The gorgeous traditional tandoor ovens are a focal point, of course, and the traditional Indian technique of braising is used lavishly to great effect. But the approaches go further, reflecting the truly global outlook that characterises Tamba – including woks, teppanyaki and robata grills, sous vide, and even some molecular gastronomy. Expanding beyond the traditional Indian techniques brings out new dimensions to the cuisine, elevating it from beloved comfort food to something unique, original and innovative. 84 S I M P LY A B U D H A B I
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Many regions of India are represented as well. Normally, Indian restaurants tend to be predominantly North Indian; that’s what most people around the world expect when they think of Indian food. Tamba’s menu does have North Indian influences, but includes flavour profiles and ingredients from regions of southern, eastern and western India as well. For example, it may be surprising to see raw fish dishes on the menu – but there are parts of India where people do eat a lot of raw fish. It’s not something you’d normally associate with an Indian restaurant, but it’s a perfect example of the unexpected delights to be found on the Tamba menu – Indian at its heart, but with a fresh new perspective. Indian food has always been about sharing, especially among families. But the typical sharing meal tends to be two or three large dishes: a biriyani, a vegetable or meat dish, perhaps some rice and bread. The sharing concept at Tamba is very different, more akin to a tapas style of dining. Rather than large main courses for one, the plates are smaller. For instance, a table of two might order six or seven dishes; a table of four could certainly go up to twelve. It’s a wonderful opportunity to really explore many different flavours and textures, to sample, share and compare an array of amazing tastes, lending itself perfectly to the social aspect of dining. To develop the menu, Team Tamba invested a lot of time in researching culinary scenes around the world, from New York to Delhi. In the UK, they visited all the top Indian restaurants in London, including Michelin-starred ones, as well as other types of cuisines, to understand what’s happening at that level. They went to Delhi and Mumbai to immerse themselves in real, authentic Indian flavours, from high-end restaurants to the incredible Iranian street café culture in Mumbai. And of course, they frequented the many fabulous options cropping up around the UAE’s burgeoning foodie culture, including the Indian restaurants as well as Japanese French, and other popular cuisines in the Emirates. From the first bite, it’s clear that a lot of energy and thought has gone into the choices of ingredients and making sure that flavours and textures work together to create something spectacular. Sometimes, on the trendy food scene it can all seem to be smoke and mirrors: change for its own sake, or new twists on old favourites that sound interesting in theory but don’t actually work in execution. Tamba, on the other hand, integrates a creative yet rigorous approach to the menu, a focus on great flavours and highquality, fresh ingredients, and a true passion for culinary innovation. For a perfect example of how Tamba has taken inspiration from typical Indian fare and elevated it, start with the king crab puri. Traditionally, pani puri (or golgappa, depending on what part of India you’re in) is a semolina shell stuffed with potato, onion, chickpea, tamarind sauce and a spiced water. Tamba takes that dish and completely reworks it – replacing the spiced water with spiced air, so you get the same flavour but without the water. And instead of the potato and onion, there’s succulent king crab leg, which has been pulled apart and stuffed inside the pani puri shell – it’s a wonderful modern take on a traditional street food classic, as well as a unique way to present king crab.
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As mentioned earlier, there’s a variety of enticing raw fish dishes, including a vibrantly flavourful red snapper topped with a kachumber salad of fresh, slightly pickled julienned vegetables and a chilli and coriander seasoning. The spicy tuna chur-muri is a tremendously popular favourite already, blending the puffed rice crunch of the classic Indian street food dish with the cevicheinspired avocado, cucumber and spicy tuna in a perfect mixture of flavours and textures. The astonishing duck korma, as you will have guessed by now, is not a typical korma, but is served with finely sliced caramelised kumquat, while a wonderful lamb dish presents minced lamb kofta stuffed with foie gras and served with a chutney of lime, coriander, chilli and mint. Bold and creative, the menu at Tamba offers many vegetarian dishes as well, which will come as very exciting news to non-meat eaters. Among other options, there’s a potato gatta curry with risoni and rogan tadka and a paneer and apricot tikka in a plum sauce that, like the other dishes on the menu, defy expectations and elevate favourite Indian dishes into something new and utterly unique. Part of the magic at Tamba is the presentation of the food: not merely its appearance on the plate but the flourish with which it’s delivered, uncovered, discovered. The world-class servers are highly trained in the menu, and they are the perfect guides to the culinary journey you’re about to undertake, especially with dishes such as the black cod wrapped in fragrant tamarind leaf and the Billionaire Biryani (filled with lobster, Chilean sea bass and prawns). But it’s the desserts portion of the meal where the servers really get to add a bit of fun to the proceedings. There are five desserts (with three more to come) and there’s a compelling story behind them, which the server narrates for you. We won’t spoil it for you – but it’s quickly become a major feature of a meal at Tamba, and you simply have to experience it for yourself. What we will say, however, is that the desserts are absolutely amazing – as enticing as the food is at Tamba, it’s imperative you save room to try one. Indian restaurants are not traditionally known for desserts, particularly among an international clientele. Tamba once again alters perceptions, incorporating Indian elements such as cardamom, halwa, rose and saffron and infusing them with a universal appeal. The Lady Chatterjee, for example, marries the creaminess of a cheesecake with the tropical, berry-like tartness of passion fruit, whilst the Break-Up is nirvana for chocolate lovers – a rich dark chocolate mousse complemented by salted caramel and a nutty semifreddo (one of the variety of ice creams and sorbets all of which are created in-house). With the beverage choices, you’ll once again get subtle hints of Tamba’s Indian roots – the fantastic selection of signature mocktails includes Indian-infused flavours such as tea, cinnamon, cardamom and curry leaf. Perfect for sipping on a warm summer evening on the outdoor terrace, as you take in the Abu Dhabi skyline and listen to music provided by Tamba’s resident DJ.
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The team at Tamba reflect its status as an international, globally appealing restaurant. They are all skilled professionals from all over the world, with many cultures represented. The service is exceptional: warm and friendly, yet utterly professional and knowledgeable, trained to the highest standards and committed to ensuring you have an amazing experience. The kitchen team responsible for the incredible food is predominantly Indian, but they represent many diverse backgrounds and influences, having learned their skills all around the world. Head Chef Aditya Jha brings with him impressive credentials. Before joining Tamba, he was sous chef at the worldrenowned Gaggan Restaurant in Bangkok, which has been ranked on a number of occasions as the best restaurant in Asia and among the top ten in the world. Chef Aditya, group executive chef Angshuman Adhikari and the rest of the Tamba team are constantly researching and developing ideas, looking at new techniques, new methods, new flavours that work but are not typically thought of as Indian food. We’re eagerly awaiting their next creations on our future visits. On which topic, Tamba’s future includes a second location opening in London in 2017, then perhaps New York and other major cities around the world. Innovative, inventive, genuinely original – the Tamba story is just beginning. Tamba Restaurant The Hub at the Mall, World Trade Centre, Level 6 Abu Dhabi Weekdays 12:00pm – 1:00am Weekends 12:00pm – 2:00am Tel: +971 2 672 8888 Email: reservations@tambarestaurant.com Web: www.tambarestaurant.com Twitter: @tambauae Instragram: @tambarestaurant
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S I M PLY T I M E By Nick Rice
Time is perhaps the most precious luxury of all.
B
ut just what is it? Time is a continuing sequence of events occurring in apparently irreversible succession – from the past through the present to the future. It is a measure of the durations and frequencies of events and the intervals between them. It is fundamental to being human. So it is no surprise that time has long been a major subject of study in religion, philosophy, and science – but defining it in a manner applicable to all fields, without circularity, has consistently eluded scholars. Diverse fields such as business, industry, sports, the sciences, music, dance, and theatre nevertheless all incorporate some notion of time into their respective measuring systems. Perhaps we can do no better than simple definitions of time, such as ‘time is what clocks measure’; and ‘time is what keeps everything from happening at once’. Horology (from the Greek: ωρα, ‘hour, time’ and λόγος, logos, ‘study, speech’), literally means the study of time. Fortunately, keeping track of time is simpler than defining and studying it, and a wide variety of devices have been invented to do just that, among them: clocks, watches, clockwork, sundials, clepsydras, timers, time recorders and marine chronometers. Nick Rice takes a look at the world’s finest time keepers and share their stunning visual beauty with you.
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I
n recent years, pocket watches have been making their presence felt. These precursors to wristwatches never stray far from being in vogue and self-respecting hipsters and gentlemen dandies can be seen sporting a pocket watch tucking into either the breast pocket of their suit jacket or in their waistcoat. Always a dynamic brand, Harry Winston offers a flamboyant addition to this fine field of horology with the My Precious Time brooch timepiece. Harry Winston was founded in 1932 during the Art Deco movement and the clean lines and geometrical forms duly associated with the style echo through many of Harry Winston’s high jewellery collections. The My Precious Time creation is positively infused by Art Deco and it is immediately striking. As soon as it meets the eyes the brilliance of the 368 white diamonds capture your attention. Fashioned in white gold, the intensity of impact speaks volumes for the outstanding skills of the master craftsmen, gemsetters and jewellers at Harry Winston. There is a variety of diamond cuts and sizes showcased, including a large cushion-cut diamond and a vibrant arrangement of marquise-cut, brilliant-cut and baguette-cut stones. The effect is nothing short of mesmerising. The brooch is operated by pressing on a marquisecut diamond just below the large cushion-cut diamond, and the trigger releases an octagonalshaped secret watch. Commensurate with its identity as a secret watch, the caseback is camouflaged in diamonds. The chain is also in white gold, and when revealed, the sophisticated face of the timepiece – which is full-set with 142 brilliantcut diamonds on the dial – displays the time, which is kept precise by a fine quality quartz movement. It is water resistant, but with a timeless piece so refined, so elegant and opulent, it is not recommended to have it anywhere else but handsomely pinned to a perfectly tailored suit.
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Blancpain Ladybird Ultraplate
J
ehan-Jacques Blancpain started making watches in 1735 in Villeret, Switzerland, and ever since the Blancpain brand has been a sign of refined quality and great heritage. There are many anniversaries in a company with such an illustrious history, and at Baselworld 2016 we saw the launch of the Ladybird Ultraplate to mark the watch’s 60th anniversary. When it was first launched in1956, the Ladybird watch was excitingly brave and resolutely avant-garde. Blancpain had created the smallest round watch in the world at the time. With diminutive timepieces for women once more following the cycles of fashion and highly desirable, the Ladybird Ultraplate is sure to be a strong seller. It has endured the decades in style and it still speaks of elegance and modernity, encapsulated in sparking allure. This ground-breaking feminine watch was first advertised as a challenge to distributors – “Be the first importer on your market of the world’s smallest round watch!” It was a challenge that was widely accepted and the watch was widely purchased too. Blancpain’s R550 calibre –the world’s smallest round movement at the time – was a revelation. With an 11.85mm diameter, this movement had a power reserve that topped 40 hours – exceptional for 1956. The crown was relocated to the back of the watch to allow for an uninterrupted aesthetic. Technically impressive, too, the pivot was placed above the escape wheel and was slightly thinner than an average strand of hair, at just 0.07mm. On the heels of the timepiece’s immediate appeal, a variety of styles emerged, each meeting an array of feminine tastes, ranging from entirely gem-set models to more avant-garde versions with interchangeable straps. Six decades later and still the watch is in high demand.
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Blancpain pays homage to the Ladybird with the new automatic 6150 calibre. At just 15.7mm in diameter it remains one of the smallest in the world. A 60-piece limited edition was introduced at Baselworld to mark the model’s 60th birthday. The new watch is mounted on Louisiana alligator leather with especially fine scales in order to create a supremely refined effect, and the bezel is set with 32 diamonds surrounding eight of the same gems sparkling on the dial, swept over by dropletshaped hands and framed by a white gold case. The transparent caseback allows a view of the winding rotor, which is also delicately decorated with a diamond. The Ladybird collection has also been expanded with two other new models presented exclusively at Baselworld. The first features a mother-of-pearl dial bearing four small ruby hearts. A removable charm in the form of a reversed heart brings a flirty touch to the model. The second new piece is crafted in red gold. Its opaline dial is surrounded in brilliance thanks to its diamond-set bezel.
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T
he Breguet Classique collection has always been one of the strongest and most desirable lines of this renowned watch Maison. Breguet has been creating extraordinary timepieces in the VallĂŠe de Joux in Switzerland since 1775 and the new Classique 7147 continues the fine tradition in style. In the early days of horology, many elements of watch decoration were primarily functional and the Classique collection celebrates this heritage via the meticulously created motifs on the dial, which were originally devised to delay the onset of colour degradation and to bolster the durability of fragile surfaces.
In this new watch, which supersedes the Breguet Classique 5140, we see the epitome of fine engine-turning on the dial, a technically demanding decorative craft in which Breguet have longstanding fine form. The dial on this understated and sophisticated model is entirely made of engine-turned solid gold, which is then silver plated. The main dial motif is clous de Paris hobnailing, and this is complimented by the small seconds sub-dial at 5 o’clock, with its fine cross hatch pattern. Altogether there are four different decorative designs used: the aforementioned clous de Paris in the centre, cross hatching in the small seconds and circular graining for the tracks,
which are all separated by a fourth stippling pattern. It should go without saying that the dials are hand-crafted by highly trained and talented craftsmen. Unsurprisingly, and essentially, we have blued steel Breguet hands sweeping over a chapter ring of Roman numerals. The Breguet secret signature, a token of authenticity, is engraved on both sides of the 12 o’clock numeral. This fine dress watch is powered by the ultra-thin self-winding Calibre 502.3SD with an off-centred oscillating weight visible through the sapphire crystal caseback. While this stunning watch oozes traditional elegance, it also has one foot firmly in the future with its use of progressive new materials such as silicon. This versatile material is used for the balance-spring and escapement, ideal due its anti-magnetic and corrosion resistant qualities, not to mention the fact that no lubricant is required. Measuring in at 40mm and available in 18-carat rose or white gold versions, the Breguet Classique 7147 has recently become available in reputable stockists of Breguet worldwide.
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Omega Planet Ocean Deep Black Collection 108 S I M P LY A B U D H A B I
T
he four new Planet Ocean timepieces from Omega are an exceptional addition to the already successful Planet Ocean family. Arriving in four colours – deep black, red, blue and 18carat Sedna gold – these watches build upon Omega’s previous successes and translate the appeal of the Speedmaster’s polished steel into stunning ceramic. Combining aspects of traditional GMT models and more modern diving watches, each state-of-the-art Planet Ocean is borne out of a single block of ceramic (a material also used for the unidirectional bezels and Arabic-numeral dials) gifting the piece a surprisingly light and rewardingly delicate feel. Despite its aesthetically unique construction it maintains a Master Chronometer certification and can withstand depths of up to 600 metres, complete with a METAS certification for magnetic resistance of up to 15,000 gauss, and also a COSC certification of accuracy. The Planet Ocean features a number of ground-breaking functional and stylistic touches unique to the Omega brand. For example, the piece’s ceramic case has for the first time been blended with rubber to create the bezel – an industry first for a watch of this kind. The patented Liquidmetal is also used to create the symbol on the helium valve and the Omega logo on the crown. The newlypatented Naiad lock also creates an orientated caseback to ensure the universal flawless positioning for the piece’s engraved wording. The movement is Omega’s coaxial calibre 8906, with a 60-hour power reserve, two barrels, and a silicon balance spring. An all-new GMT ring has also been added to the dial, with the diving scale attached to the ceramic bezel using Liquidmetal or Omega Ceragold.
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Despite this mechanical complexity, the pieces remain a handsome and comfortable wear. On the deep black model the black rubber straps are designed to resemble fabric, featuring contrasting stitching and a unique wave pattern on the underside; whilst it’s perhaps on the larger end of the scale at 45.5mm, the timepiece never feels awkward or cumbersome. On the black and 18carat Sedna gold models, the ceramic cases and dials have been polished for a glossy effect. The blue and red versions are brushed for a matt effect that offers better visibility underwater. The hands and indexes of the watches are created from 18-carat Sedna gold or 18-carat white gold. They are coated in white Super-LumiNova that emits green and blue colours.
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Fr a n c k M u l l e r
7-day Skeleton Power Reserve
F
ranck Muller is a fascinating man with an eponymous brand that has earned the accolade of Master of Complications.
Over the years the company has been as innovative as it has been popular. This Swiss watchmaker brought us unique watches like the Crazy Hour, and some more sober classics, such as the stunning Franck Muller 7-day Skeleton Power Reserve – this skeletonised version of their calibre 1740 features a generous seven days power reserve and is available in either a round or Cintrée Curvex casing. Franck Muller took the calibre 1700 and deployed the incredibly technical and respected horological craft of skeletonising it. This process reveals a refined mechanism and it is augmented by flawless decoration. The new calibre 1740 is a marriage of sophisticated aesthetics and meticulous precision. An in-house production, the watch is adorned by 21 jewels. Powered by two barrels, this mechanical movement comes to life in Geneva at the Franck Muller headquarters. As it is designed, manufactured and decorated entirely at Franck Muller, it is a true proprietary piece. Of particular eyecatching elegance are the hand-chamfered bridges - a key element of decoration in Haute Horlogerie. The watch is distinctly appealing in either of the case shape offerings, and it’s available in 18-carat gold or stainless steel.
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Tiger Woods
Rolex – Oyster Perpetual Day-Date
114 ©Rolex/Thomas Laisné
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his is a watch of astounding legacy. It’s difficult to overstate the impact and iconic place in history that the Rolex Oyster Perpetual Day-Date holds. This is the timepiece worn by numerable presidents and dignitaries, world leaders and cultural movers and shakers. It’s the Day-Date, available only in precious metals; it’s the pinnacle of watchmaking prestige. When it first arrived fresh from the Rolex manufacture 60 years ago, the Day-Date grabbed attention not only with its sober and simple appeal, but also for being the world’s first calendar wristwatch to indicate the day of the week spelled out in full in a window on the dial in addition to the date – an eyebrow-raising technical feat back then. So this iconic watch is a distinguished gentleman now, and in the passage of time from 1956 to 2016 some things have changed. There is still the instantaneous calendar displaying the date and the day spelled out in full of course, but with the advancement of technology we now have a paramagnetic blue Parachrom hairspring. Insensitive to magnetic fields, the Parachrom material offers great stability in the face of temperature variations and is up to ten times more precise than a traditional hairspring when it comes to shocks. It is also equipped with a Rolex overcoil, ensuring its regularity in any position. Firmly held in place by a height-adjustable traversing bridge, the oscillator has a large balance wheel with variable inertia regulated extremely precisely via gold Microstella nuts. The President’s Watch is a Rolex-certified Superlative Chronometer – a self-winding mechanical movement that is COSC certified and housed in an Oyster case. It is available exclusively in 950 platinum or 18-carat gold, and the latest iteration is obviously waterproof, to a depth of 100 metres. The Day-Date has always represented the summit of the Rolex art of watchmaking. The exceptional precision, reliability, legibility and presence of this prestigious model means that it is the ultimate status watch. According to its size, the Oyster Perpetual Day-Date is equipped with calibre 3155 (36mm version), or 3255 (40mm version), two self-winding mechanical movements entirely developed and manufactured by Rolex. Their architecture, manufacturing and innovative features make them unquestionably precise and enduringly appealing… a stone cold classic that will always be one of the most impressive timepieces on the horological landscape. And with a choice of 26 different languages (including Greek, Arabic, Hebrew, Latin, Russian, Chinese, Japanese and Indonesian), the universal appeal will continue for another six decades and beyond.
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Richard Mille
RM 11-02 Le Mans Classic
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he inspired explorations and collaborations of Richard Mille cover everything from street art to aviation, but with the RM 11-02 Le Mans Classic, Richard Mille returns to his childhood passion of motorcars and racing. This 2016 ‘racing machine for the wrist’ is limited to 150 pieces and marks the world-famous 24 Hour Le Mans Classic, of which Richard Mille has been a partner since the event was established 14 years ago in 2002. This year the Le Mans Classic set a new attendance record with upwards of 123,000 fans enjoying a sun-drenched day that embodies nearly 100 years of history. Richard Mille is the main partner and official timekeeper for the event, and naturally a commemorative edition watch is both expected by fans and highly desirable. One of the many elite sporting partners of the brand, Jamaican sprinter Yohan Blake, made an appearance at the weekend and drew cheers from the crowd as he waved the starter flag at the opening of the Little Big Mans – a race for sixto ten-year-olds that gives them the experience of the starting grid and the excitement of the historic Bugatti circuit. Musical icon Pharrell Williams, also a friend of the brand, waved a French flag to indicate the start of the official race. A thousand drivers took turns around the clock at the wheel of the 550 entries. Among them were celebrated names of motorsports and of the Le Mans 24 Hours, the high calibre of champions such as Henri Pescarolo, Gérard Larrousse, Éric Hélary, and Romain Dumas who went on to win the 2016 title. The watch for this year is the RM 11 chronograph model in the Traveller’s version. It features a large date at 12 o’clock and an annual calendar, with display of the month in a window between 4 and 5 o’clock. On this new RM11-02 edition, there is a 24-hour indication at 6 o’clock added, plus a new hand means the watch can display two time zones at once. The case of this new beauty is Richard Mille’s instantly recognisable tonneaushape, and it is even more attention-grabbing with its crisp white ATZ ceramic bezel and caseback, contrasted with NTPT carbon casebands. As always with the extreme technique the brand is lauded for, the movement is a masterpiece. Executed in grade 5 titanium for the plates and bridges, it includes a variable geometry rotor, a free sprung balance and a double barrel winding and chronograph flyback. This edition bears the colours of the historic competition, dark green on the inner flange, on its rubber strap and on the rubber insert of the carbon crown. The Le Mans Classic logo appears at 12 o’clock on the dial.
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TAG HEUER THE HEUER MONZA CHRONOGRAPH
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he new Heuer Monza Chronograph is the latest timepiece in a remarkable family tree of Monza watches, and it celebrates 40 years of history – the perfect occasion for a stunning reissue of an iconic watch. Back in 1976, Jack Heuer, the great grandson of TAG Heuer’s founder, designed a chronograph to celebrate Niki Lauda’s first world championship title with Ferrari. TAG Heuer was at this time the Official Timekeeper for Scuderia and this was the first time that Monza appeared on the dial of a watch. When it emerged, the watch was a statement piece with no close comparisons. Innately stylish, the coussin case echoed the 1925 model and it was a timepiece packed with technology. The black chronograph came equipped with a pulsometer (to measure the heart rate) and a tachymeter scale (which converts time into speed), and red hands and counters to reflect its racing heritage. Now the latest iteration of this hugely popular watch returns to its roots with two core functions – the pulsometer and the tachymeter scale (not seen on previous reissues) – and with the original font. The famous original coussin case is an obvious necessity here and it’s beautifully all-black, just like the historic model, with black and white lacquered hour and minute hands as on the original. The case is constructed from titanium, making it lighter and more shock resistant, and it’s blackened with titanium carbide. It measures in at 42mm, making it perceptibly bigger than the 2000-era Monza. Also the sapphire crystal is domed rather than flat as it was on the 2000/ 2011 Monza. The same applies to the indices in vintage orange Super-LumiNova. Likewise, the historic Heuer logo on the dial, which attests to the model’s place in the manufacture's historic collection. Also reminiscent of the 1976 Monza, the crown and pushers are in polished stainless steel. TAG Heuer has expertly rejuvenated the design of the 1976 model, making a wonderfully modern timepiece look impeccably retro-cool. There is just one choice of strap, and thankfully it’s the only choice you could need – as it’s a super racing strap in full-grain black calfskin with top-stitching evoking the design of the three-spoke steering wheel on the period racing cars. This soon-to-be-coveted timepiece is powered by a 17 automatic calibre, a chronograph with its two chronograph counters at 3 o’clock and 9 o’clock – perfectly spaced for a beautifully harmonious dial. The screwon back is numbered and features the historic Heuer logo engraved with red lacquer finish. The original Heuer Monza is highly prized by collectors, especially as it has only been reissued a handful of times. With this model so accurately representing the style and spirit of the original, it is sure to become a collector piece and a milestone watch in TAG Heuer’s heritage.
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he fashion giant Dolce & Gabbana has created a solidly appealing line in the DG7 – it takes an elegant approach and then throws some spice in the mix to add an edge. This added oomph comes in the form of precious stones adding vibrant flashes of colour.
Domenico Dolce and Stefano Gabbana have showed a typically deft touch in creating a contemporary watch that manages to make a statement, whilst somehow looking understated. Expect to see these flashy timepieces on the wrists of Premier League footballers, TV celebrities and big character moguls.
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Dolce & Gabbana already have an expansive collection of high-end watches for women, and the new Sofia model is another fine addition that looks set to be a solid seller for the Italian tastemakers. Domenico Dolce and Stefano Gabbana have come up with the goods once more and the Sofia watch is instantly alluring. The impeccable quality of Swiss watchmakers is allied with the Italian duo’s innate feel for appealing style. The Sofia is essentially a square case of rose gold that is polished using a mirror polishing diamond tool, with a series of symmetric geometrical facets expanding from the outside margins onto the sapphire crystal. The perfection of the geometric pattern is obtained from a traditional stonemason’s technique now applied to the surface of this watch resulting in highly original light reflections that enhance the watch, turning it into a unique and beautiful gem. Available in shades of pink, blue, beige, grey and black – any discerning customer can match the dial with a watchstrap made of pure silk satin in the same colour. The octagonal crown is in pink gold with a natural ruby – a symbol of precision and a perfect way to top off this fine timepiece.
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Cartier Drive - John Balsom Š Cartier
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he launch of the Drive de Cartier was one of the most talked about topics in the hallowed halls of the Baselworld watch fair earlier this year. Why? Because here we have a modern day Cartier watch, with an in-house movement, a completely new shape, and an obvious embrace of masculine codes. And all these ingredients have clicked to make a masterpiece. It is the language of Cartier, captured in a contemporary timepiece. And while it is modern, it take its design cues from vintage automobiles, with a hint of radiator grilles seen in the dial’s fine guilloché work, and the crown is a nod to the sturdy type of bolts used in old motorcars. Add a pair of sword hands, a small date aperture and a subseconds dial and you have a little piece of horological harmony… You see it, you want it. In Cartier’s own words, “The taut curves and refined lines construct an identity that is stylish, elegant and modern: the language of Cartier is thus perfectly articulated.” Another nice touch is the range of choice in the Drive de Cartier watch, allowing customers to pick precisely the right combination of colour and materials. Choose a case in pink gold or steel, with a black, grey or white guilloché dial marked by Roman numerals. The caseback is transparent so you can take off this beauty and closely admire the proprietary calibre 1904 MC, which is also available in two versions: hours, minutes, small seconds and date for the 1904-PS MC, and second time zone, day/night indicator, large date and small seconds for the 1904-FU MC. The Drive de Cartier watch is also available in a fine watchmaking version, with a flying tourbillon 9452 MC, certified “Poinçon de Genève”. Cartier is not planning to push the Drive de Cartier to all international markets, but it is sure to become a stone cold classic. With a price point just over $6000, this will find a large audience and will find an assured place in Cartier’s heritage.
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Salvatore Ferragamo – F-80 Motion
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he renowned purveyor of flawless Italian fashion has been impressing many in the luxury watch industry with some striking timepieces. With the F-8 Motion, Salvatore Ferragamo has seamlessly combined classical tradition and forwardthinking innovation. Strategically joining other prestigious brands in producing a smartwatch, the famous fashion house’s first offering bears luminescent indexes and hands drawn by a special Swiss made MOMT285-1 movement. The visually striking F-80 offers a wide range of functions including activity and sleep-pattern tracking, adaptive coaching, smart sleep alarm, time zone synchronisation and backup. The wide array of adaptive controls can be adjusted from the MMT 365 app available for iOS and Android devices, which records all the wearer’s preferences and activities after initial synchronisation. The technological sophistication has however done nothing to sully the piece’s classic and best-selling style: with a 44mm case, six decorative screws on the top ring, a beautifully decorated dial, and a strap of crocodile-print calfskin with caoutchouc, the F-80 Motion remains a consistently comfortable and alluring timepiece. The watch is also available in a totally black version featuring a strap embellished with red stitching. The battery life is estimated at more than two years and the watch is now available in Salvatore Ferragamo boutiques, from authorised retailers and online from the website www.ferragamotimepieces.com.
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Versace V-Race
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ever a brand to lack visual impact with its creations, the flamboyant fashion giant has imagined an eye-catching chronograph watch to accessorise any look. Launched in the Versace spring/summer 2016 collection, the V-Race chronograph is bursting at the bezel with attention-seeking attitude and embodies the kind of energy that Versace likes to project. Although Versace are clearly striving for a contemporary appeal, the brand is savvy enough to know that edgy and innovative design must convene closely with tradition when it comes to watchmaking. You can be as trendy as you please, but the watch has to function, and function well, otherwise it will go nowhere. To this end the brand has opted for a reliable Swiss quartz Ronda 5010B movement to power the timepiece. It measures in at 42mm and the unmistakable Medusa’s head logo is embossed on the crown. The runway look has an IP yellow gold case with an interchangeable top ring and the watch is mounted on either an IP yellow gold bracelet, or straps to match the urban jungle prints that defined the spring/summer 2016 show. The V-Race is available in IP yellow gold, as well as all-black, all-blue, all-bronze and bi-colour.
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Harry Winston - New York
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Harry Winston r Winston knows better than anyone that diamonds are a girl’s best friend, so which house could be better placed to present the magnificent, glittering Sparkling Cluster
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In the ring, the 12 brilliant-cut diamonds of varying sizes weigh in at 2.35 carats set in platinum. For the earrings, 20 diamonds totalling 4.26 carats form a scintillating flash of asymmetrical light, a single pear-cut diamond suspended at one corner.
The clusters of dazzling stones in pendant, earring and ring format are a nod to Harry Winston’s rich design heritage, vague seams of Art Deco design running through many of the Maison’s pieces since it was established in the tail end of the epoch, in 1947.
The necklace contains a staggering 151 diamonds of a hefty 15.39 carats in total, combining round and pear-shaped diamonds.
collection?
Different sized diamonds, a design quirk so prevalent in many Harry Winston designs, are delicately, carefully matched in neat, beautiful little packages that look like little starbursts.
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All of the pieces, regardless of the number of diamonds they contain, feature that reliable Harry Winston elegance. The Maison’s team of designers often look to the past for their inspiration, but not at the expense of the future, for these are most modern diamonds. The pieces of the Sparkling Cluster collection are understated, fluid clusters of
stones that would be as at home with an elegant day dress as they would sitting over a fabulous evening gown at a red carpet event, wedding, family milestone or major society dinner. The collection follows hot on the heels of the Lotus Cluster which drew its design inspiration from the eponymous flower. Renowned for its absolute purity, majesty and beauty, the real life flower withdraws shyly into the dark waters at night and reveals its true inner brilliance in the sun. As with the flower, so with the diamonds. The line highlights the floral allure in a six-piece ring, earring and pendant collection all featuring the lotus motif. In the ring, the signature clustering
technique sees stones circle neatly around a central brilliant-cut stone, the setting as much part of the design as functional. It sits atop a simple, diamond set band – all white in the Harry Winston style and now traditional aesthetic. It is available with two different sized centre stones, depending on your taste – 0.30 and 1.00 carats. Although now owned by the Swatch Group (and unveiling watches at Baselworld that are as breathtaking as the jewellery), new ownership has not diluted the brand’s commitment to its long-held traditions. Eighty years after it was first founded in New York, Harry Winston continues to supply the jewellery loving world with reliably elegant, well-crafted classics, year after year.
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ot without good reason has the Cartier Maison attracted the
adoration of the rich and famous throughout the ages. At almost 170-years old, the jeweller stands the test of time,
producing imaginative, sophisticated and elegant pieces, time after time. In 2014, the brand launched the Amulette de Cartier collection, a series of eleven necklaces and four bracelets. The latest iteration of this much admired collection is another masterclass in elegant flamboyance. Like so many Cartier collections, it looks set to be another icon in the patrimony department. Sure enough, when Poppy Delevingne debuted it at the Cartier International Polo Challenge, it looked wonderfully natural. Designed as if a modern talisman, the pendants are imagined as a personal lucky charm for the wearer, figuratively trapping wishes within their form. A dream catcher, if you will. Set on a delicate chain, the Amulette takes the shape of a curved, pebblelike disc encircled with 18 carat yellow or pink gold set with a gem – diamond or onyx cabochon – at the centre. A triangular wedge of negative space at the top is also the site of a hidden clasp which closes like a padlock to both capture luck and unlock the wearer’s wishes. Practically, it also removes the need for a standard chain fastening, adding to the beguilingly simple design. The first release in 2014 was fashioned from onyx, mother of pearl or diamonds – subtle, monochromatic colours that could be worn every day for every occasion – “immersed with lightness and dreams” in the words of Cartier. In the spring, the jewellery house introduced pops of colour, enriching the Amulette collection with shimmering semi-precious stones: deep green malachite, pale green chrysoprase, shimmering, azure lapis lazuli, warm pink opal and red cornelian, each with symbolic meaning. Malachite is a protective charm for travellers, opal symbolises happiness and lapis lazuli brings serenity. What’s more, the bold colours make for an effortless, oh-so Parisienne way to bring colour to a simple outfit. Available in two sizes, the larger version is set with three onyx stones like beads and diamonds that decrease in size as they approach the centre. The large pendants are striking, but it’s the delicate, polished, smaller discs that we want at our neck each day.
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Charles Lewis Tiffany (1812-1902), Founder, Tiffany & Co.
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or many women, saying ‘yes’ means only one thing: a Tiffany box. For years the New York Maison has been the first and last word in engagement rings, and one ring in particular.
Yet it was revolutionary when it debuted. The Tiffany setting really shook things up when it was introduced 130 years ago. Prior to 1886, diamonds were set into a band or bezel, often closed at the back, holding stones close. Designs were fussy and ornate. Charles Lewis Tiffany broke new ground by daringly setting the stone on six prongs, lifting it above the band and allowing light to shine through, enhancing each stone’s brilliance. He tapered the simple band beneath for comfort and produced the enormously popular ring with a range of diamond sizes, from a modest 0.18 carat to hefty stones with matching price tags. Decades later it’s still hard to beat the iconic design and it remains the most popular style among young couples by a long stretch. Other houses even produce rings with the Tiffany setting, a byword for the six-pronged solitaire setting. Years later, the jewellery house and its little turquoise boxes are much coveted by women around the world, the name Tiffany synonymous with luxury, glamour and love. That’s not just for the incredible service that Tiffany prides itself on – it’s also for the quality assurance. The diamonds in the Tiffany setting have
to pass the most stringent grading standards before being allowed into the workshop. Melvyn Kirtley, the company’s chief gemologist since 1985, says he will reject 99.95% of the world’s finest diamonds, “because there’s a difference between quality and Tiffany quality. I will grade beyond the 4Cs to a fifth quality – presence – because unless it has a superior brilliance, scintillation and dispersion, it’s not a Tiffany diamond.” Reassuringly ruthless. The setters take their work every bit as seriously: “I know I’m working with the finest diamonds, and it’s my responsibility to create a ring that meets the level of excellence that Tiffany demands,” says Tomas Dziwura, who has worked with the house since 2001. “I will craft a setting so flawlessly that the exquisite diamond it holds seems to float. Just as it was done 130 years ago. People associate engagement rings with the Tiffany setting; it’s the best-known ring in the world.” Its ageless simplicity is part of its enduring appeal, pared down to the bare minimum of components; modern then and crisply clean now. The fact that the design hasn’t changed since 1886 attests to the flawless blueprint, although it will be debuting in rose gold as well as the standard platinum, white gold and yellow gold later this year. And to mark the special anniversary year, the jeweller will be gifting a silver ring box with the sale of all Tiffany engagement rings with the iconic setting.
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he 2016 Baselworld exhibition drew a glittering array of new collections from the world’s best jewellers. So far, so normal. But Fabergé stood out from the crowd with its double whammy. The jewellery house famous for intricately enamelled eggs brought two new jewellery lines to the market, each drawing eager gazes from attendees.
The house calls itself an artist jeweller, “inspired by its storied past and the current moment to create eternally original pieces to be collected as future heirlooms”. It’s difficult to argue. Designers seem to paint with gemstones as they explore the art of colour, often hinging around the universally human themes of nature, rebirth and love. They represent originality, fine workmanship and artistry, and this time, those skills have been applied to a transcendent Mosaic Pendant: a multi-coloured, precious tribute to the Mosaic Imperial Easter Egg made in 1914. That was the showstopper this season.
The Fabergé Imperial Collection is already a triumph of Russian splendour, inspired by the Romanov court and all its magnificence, wealth and jewels. It also pays homage to old Russian traditions, taking in crafts and folk art, and the seasons so clearly defined in the sprawling Northern country and lending their rhythm to the country’s holidays and traditions. Long, freezing winters see magnificent balls; summers a lazy, countryside calm.
There are three variations, which call on Mozambican rubies, sapphires, tzavorites and diamonds for their radiant surfaces; one multi-hued, one ruby red and one sapphire blue, all invisibly and skilfully set. The pioneering 20thcentury technique was created by Peter Carl Fabergé – this piece is a tribute to him – and uses single-faceted gemstones “perfectly calibrated in a ribbonlike narrow row”. It’s a technique that conceals the gold setting from the eye and creates a flawless mosaic finish; it’s back-breakingly detailed work and made all the more challenging by the curve of the egg.
Pieces from the collection have been seen on some of the world’s most graceful necks including Mila Kunis and Lana Del Rey. Tassels, monograms and ribbons forged impossibly from metal and stones are used throughout to bring a sophisticated, old world luxury. Additions have been made to the collection this year, bringing diamond stud earrings, pendants and colourful rings to the limelight. Bejewelled rings in different colour variations – green emeralds, red rubies, and blue sapphires – are spectacular. A single stone in the given colour forms the centre piece, surrounded by a circle of diamonds, another elliptical circle of coloured stones and finished with another round of diamonds. They’re set on a jewelled band to complete the opulent look.
The ruby pendant alone features stones from the African nation of Mozambique totalling 43.82 carats. As you might expect from such intricate pieces, they’re all one-off versions and total masterpieces. The pendants hangs on a double chain studded with precious stones that add a twinkle and draw the eye downwards towards the real star of the show.
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Va n C l e e f & A r p e l s
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he Perlée collection is a failsafe darling of the jewellery world, dating all the way back to 2008. This season, it’s been subject to some remodelling by parent company Van Cleef & Arpels to reassert the rounded aesthetic so close to the Maison’s heart.
Now the collection has been fused with another of Van Cleef & Arpels’ signature emblems: the gorgeous Between the Finger Ring, a positive hug for the digits. The distinctive ring has been set in various combinations of colour with a rich, creative use of metals and stones. In one, the pink gold setting of an open ring is topped at each end with carnelian and diamonds respectively. In another, the setting is made of polished yellow gold and set with malachite on one side and peppered diamonds encircled by a border of golden beads at the other. Pendants and ear studs are available to match the feminine and timeless collection. To look at the golden bobbles decorating so many of the pieces belies the workmanship that goes into them. Each of the tiny golden beads is reworked individually prior to setting and patiently polished, a technique that has been used by the house’s craftsmen since the 1920s, once even manifesting in a ‘couscous’ bracelet following a trip to Morocco by the Arpels family. But the Perlée collection – so named for those golden beads – is enormously varied. In many other houses, for example, the Perlée signature bracelet and ring would be a line in its own right, polished bands of gold fringed with rows of gold beads and inscribed with the company name. They, like the Clovers model which adds a clover leaf motif of diamonds to the band, have a distinctly Arabic feel. As well as reinventing the Perlée collection, the design maestros have found time to put together a heavenly haute joaillerie collection too. The theme? Emeralds. The company is justifiably proud of its history of making crowns and jewellery for kings and queens, royals who have included the Iranian Shah, Princess of Egypt, Indian Maharani and the Duchess of Windsor. When summoned to Tehran in the 1960s to select the jewels for the crown and jewellery set commissions, even Pierre Arpels himself was staggered by the riches that lay before him. Hundreds and thousands of emeralds. “I stood in wonder before this treasure,” he later said; “this profusion of precious stones.”
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So prominently have emeralds featured in Van Cleef & Arpels’ most treasured pieces that they elected to produce this, a most mesmerising collection of high jewellery. The Émeraude en majesté demonstrates the brand’s devotion to the green stone and showcases its craftsmen’s utter mastery of creation. Take the Émeraude Entrelacée necklace, a fusion of white gold, platinum and diamond strings joined by a single, broad-faced Colombian emerald. Inspired by the 1950s, it’s so delicate it’s hard to believe that it’s not fashioned from ribbon. Or the Drapé Majestueux necklace, a similarly fluid piece designed as of folds of fabric. Three rows of cabochon-cut, Zambian emerald beads shape themselves naturally to the swoop of the neckline, fixed in place by a tender rope of diamonds in a lacework motif of round, square, asscher, baguette and obus-cut diamonds. Completing the couture theme, a diamond tassel – detachable – can be fixed to the ropes and worn either at the breast or at the back in this most thoughtful, versatile of pieces. Demonstrating the designers’ versatility, the Canopée ring takes its inspiration not from fabric, but from tropical greenery. With the asymmetric composition of diamond leaves and twisted diamond stems around a large, emerald-cut, Colombian emerald, the craftsmen have created a remarkable sense of volume and movement.
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“I wanted,” says Valérie Messika, “for people to put diamonds on in the same way they put skinny jeans on.” Heavily influenced by fashion, the head of the 11 year old jewellery house wanted to make diamond jewellery that was comfortable on the skin.
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nspired by casual cable bracelets she developed an exclusive technique for setting diamonds into jewellery. The best-selling Skinny bracelet with its 1-carat’s worth of tiny, pliant diamonds demonstrated her nose for cool, for designs that women want to wear. Beyoncé, Charlize Theron and Selena Gomez are the celebrity proof, all photographed wearing Messika pieces. “I wanted to desacralise it,” she says of the diamond; “it was considered untouchable.”
That sense is carried through into her latest collection, Diamants Celestes, her third haute joaillerie collection and an utter triumph of modern jewellery making. The jewels come in four suites, named after constellations inspired by mythical goddesses: Calypso, Cassiopée, Persée, and Solena Maya. The Calypso necklace, introduced at Baselworld, has an asymmetric, flexible design, bending with the flesh as you move. 264 pear-cut diamonds are set in gold, a cuff of gems in neat formation to encircle the neck and bring any outfit a bit of razzle dazzle. That doesn’t just mean black tie events; Valérie Messika’s jewels could be paired just as easily with a little black dress or tailored jeans. The ear cuff of the same suite is especially flexible and a very modern way to wear high-quality jewellery.
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Pieces are named thoughtfully. Calypso was a sea nymph in Greek mythology who fell in love with Odysseus and held him captive for seven years; the jewellery clings just as tightly. The necklace is designed as a symbol of desire; a wave of emotion. Meanwhile the Persée is modelled on the Milky Way, a cascade of diamond tendrils all finishing in pearshaped drops that dance in the light like stars in the night sky. Carefully selected to ensure fluidity, each stone has been individually aligned to match those with the same flicker. In Cassiopée, oval-cut diamonds symbolise summer skies. Lightweight, thanks to the bare minimum of metal in the setting to bring out the stones, the shimmering cuff and matching earrings delicately follow the flow of the body to make sure that wrists don’t suffer in the pursuit of sparkle. The designer enjoys playing with stones – as she did in her childhood thanks to her diamond-trader father – mixing different shapes, multiples and contrasts to create delicious compositions. The Solena Maya is perhaps one of the best examples of this, a clear tribute to ancient Mayan design and our standout favourite. The modern interpretation contains three pieces: a necklace, earrings and ring. The necklace, a sumptuous celebration of light sees 481 diamonds of different shapes aligned in neat lines like soldiers on parade, tapering down to form a pyramid. Each row is removable to allow you to alter the impact to suit. Messika is soon opening four new boutiques in Doha, Saudi Arabia, Bahrain and Kuwait and customers will no doubt be queuing out the door.
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S I M PLY FA S H ION Womenswear & Menswear By M ar cell a Cl arke
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very woman wants to be a princess, and for the autumn/winter 2016-17 fashion show Dolce & Gabbana is the fairy godmother of the fashion world. Contemporary, independent, dressed as a prince or in a ballgown, this season Dolce & Gabbana reveals the princess protagonists of this 21st century fairytale. Step forward Cinderella, Sleeping Beauty and Snow White as this collection is a compendium of princess fairytale fantasies. “Today, every girl wants to be a princess,” Stefano Gabbana asserted. “Today, everything is possible for the young generation!” He and Domenico Dolce see themselves as storytellers as much as fashion designers, whose job is to divert people’s anxieties away from reality – much as Walt Disney did himself. “We know how the world is today. Fashion makes people dream – this is the service fashion gives,” Gabbana concluded. So this time, rather than revisiting Sicilian history again, the designers found new roles for some of their familiar pieces. The
designers stuck to their signature shapes – A-line shift dresses, fifties numbers and little military jackets – and rendered them Walt-worthy. A blue lurex glitter dress for Cinderella, a red formfitting gown embroidered with little dwarves for Snow White, and a black dress covered in the shards from her stepmother’s smashed mirror for Sleeping Beauty. The mice from Cinderella are even embroidered onto a white crepe mini dress. Floral dresses sporting white tulip and pink rose prints offer a counterpoint to the pantomime dramatics, several exquisitely embroidered with chiffon flowers. The colour palette ensures the mood is kept light, infusing the collection with more sweet colour, such as pale pink, peony pink and pistachio green, finished off with crystal embroidering. The bags of the autumn/winter collection really do take you to a world of wonder and fantasy. Castles, enchanted carriages, clocks about to strike midnight, and romantic candelabras appear on the new bags for winter. The popular Dolce Box bags in a variety of
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shades, from black to red to pale pink, and the traditional Sicily bags in crocodile, python or iguana-print leather are featured. Unique versions include a vintage TV, bookcase or Cinderella theme. Brand new for autumn 2016 is the Lucia bag: elegant and chic with refined details, it has a special clasp typical of fascinating vintage trunks. The Lucia bag comes in polished calf leather in a wide range of colours and is lined in leather in a contrasting colour. This season there is also a micro version of the Sicily bag and Vanda bag with a Plexiglass kisslock clasp, brocade base, and appliqué details. Reflecting the motifs and moods of a fabulous world, they are an absolute dream for any woman who chooses to wear them. Besides the magical aura created by ornate Swarovski crystal appliqués, details and refined embellishments embroidered or hand painted as well as countless stars, sceptres, crowns and floral decorations, there are also the amusing patches of the designers, Zambia and the entire DG Family. In recent years it seems Dolce & Gabbana have decide not to give in to the pressure to overhaul their collections with a radically different look every season and instead are writing chapters in their own playbook. And what fun they’re having. Their humour and sense of fun has been fully let loose on the details and accessories this season – in the glittery beaded patches on dresses and novelty sweaters showing the Seven Dwarfs, toadstools, chandeliers, cats, and tailor mice, and in box bags made in the shape of castles and pumpkins. Even, in one case, on a vanity bag with a mirror scrawled with the words Who is the most beautiful? Me! Given that Dolce & Gabbana have an entire line of ball gowns in their Alta Moda Couture collection this line is a more playful, lighthearted item- and accessory-packed ready-to-wear collection. The designers said it was inspired by “the new generation of princesses who are not only independent, but possess a keen perspective and point of view.” One presumes they all lived happily ever after.
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DSQUARED2 A/W 2016 WOMENSWEAR
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fter moving to Italy to work for Versace and then Diesel, Canadian twins Dean and Dan Caten set up their own label Dsquared2 in Milan in 1994, where their ‘tongue-in-chic’ collections gained a loyal celebrity following. Also famous for creating catwalk shows bursting with energy, the design duo’s love of cheeky subjects, approached with more than a hint of irony, has set them apart from the crowd.
The identical twin designers brand themselves as the square of each other, and for autumn/winter 2016 they cubed unlikely themes – samurai with Victoriana with combat – in a collection that equalled a highly relishable mash-up. As with most collections this season, the prime numbers here were the outerwear pieces, most notably two sleeved cuirasses crafted in cut coloured fur, two more in fur-trimmed beaded panels, and a mighty fur-lined sequined camo parka.
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Because the designers had determined that some element from each theme would inflect each look, that parka was teamed with a black feathered and sequined dress (whose length would have scandalised its source Victorians), plus body-stocking tattoos derived from Japanese illustration and sharp heels armoured by lamellar panels. And so this power-of-three collection went. A key garment was the combat pant, slung low on the hip and cut just south of the knee; later there were boned jodhpur variants. The military references spanned camouflage – on that parka, combat pant, and a panel-shouldered M-65 – but also expanded into a scarlet-piped indigo and regimental uniform. One handbag featured a cartridge-case strap, and there was a submariner knit crop top in non-authentic but comely olive. Victoriana was turned inside out via external girdling and fast-and-loose lengths. Fringed curtain tassels jiggled on accessories, caplet shoulders and earrings, while high-fitted black satin jackets with hard emphasised shoulders and slim long gowns were lined with Victorian widower black tulle, lace ruffles and beading. Comprising three far-flung themes, this collection could be considered a gamble, but this season Dsquared2’s crazed combination conspired to form a pleasing solution.
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utumn/winter 2016 saw the return of two British greats to London fashion week, with Mulberry and Alexander McQueen showcasing their winter wares after a three and 18 year absence.
For new Mulberry creative director Johnny Coca it was his first collection. Speaking about his debut for the beloved English fashion house the Spanish designer said, “It's quite an honour to be trusted with this brand that people love so much… and I'm not even British,” He added, “With this collection, I hope that certain influences will come through. The idea of contradiction, of contrast, of tradition but also rebellion – but there is a balance of femininity, poetic but strong. I'm excited to share it with you.” He was accessories designer at Céline, with a string of hits under his studded, chain-slung belt, so we expected a revamp for Mulberry’s handbags and shoes. He didn’t disappoint and they are bold and striking. A Coca favourite, his collection is liberally sprinkled with studs, including the reconfigured Mulberry classics such as the brand’s best-selling Bayswater that is now press-studded
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down the side. Contradiction is the word: sharp tailoring nestles against acute femininity. Traditional shapes are challenged by a play on stitching, bold cuff details and delicate pleats offset by press studs in an array of sizes. Then there’s the lustworthy totes, evening purses, chain-handled holdalls and buckled platforms. Utilitarian in inspiration, functional in purpose, they are a bold new design signature. Coca was influenced by the works of Shakespeare, fascinated by the playwright’s capacity to replicate all echelons of society, from the noble to the nobody, the royal to the rebel. His outerwear includes worthy pieces and delivers a neat line in majestic capes, complete with statement collars or military studs and stich-detailing. Shaggy bohemian Mongolians are key and navy Melton-wool coats and clattering stud-embellished kilts and bikers rival luxurious knitwear with a tough, modern
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edge via leather panels. This heavy overcoat introduces a heavier rocky vibe, whilst the whisper of tulle and intricate beading on dresses offers a fleeing moment of exquisite femininity, the embodiment of contradiction once more. The structured colour palette of black, dark navy and khaki green is set against the romanticism of delicate cream which comes through in tulle and lace, as well as streaks of pink and burgundy. Sexy, modern silhouettes are given a poetic edge through the ingenuous choice of texture and fabric. It has been said that Shakespeare was “not of an age but for all time” and it is this timeless sense of legacy that embodies Johnny Coca’s approach to Mulberry, pushing the boundaries but always respecting and reinforcing a unique sense of British character. “Modernity always needs roots in the past.”
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Given her ideals for the fashion house, the choice of models was obvious it seems. “I love Gigi and Karlie because of their amazing strength of character,” the designer explained. “They are their own women who will not compromise their individuality for anyone. I wanted to create imagery that was all about their brilliant individuality.”
VERSACE AUTUMN WINTER 2016 WOMENSWEAR Versace’s advertising campaign for autumn/winter 2016 was shot by Bruce Weber and star models Karlie Kloss and Gigi Hadid as presumed young mothers (both hand-in-hand with children and partners). Since they were unveiled, the adverts have elicited much discussion. Whilst many have praised the portrayal of a racially diverse family, some have commented that the depiction of the two as mothers could be deemed unrealistic given their ages – Kloss is 23 and Hadid turned 21 in April. Versace, however, explained her reasoning behind the idea and how it fits in with the luxury brand’s ethos.
And Donatella’s latest collection is just that. Energetic, active, in control: individual pieces for city life – the Versace life. Powerful tailoring and oversized coats are the backbone of a woman’s urban wardrobe, even more so when designed to feature ergonomic panels and functional zips. Long-sleeve compact knit dresses have zips to reveal or conceal the skin beneath, making them ideal for day to night, and for the allencompassing Versace woman. Shirts feature heavily as the new essential – in a vibrant clash of fabrics from cotton, printed silk to the classic rib knit – an eclectic mix just as you would find on a city street. Versace pairs shirts with sleek pants that are fitted, before flaring to a cropped ankle.
“With my collections, I've been thinking more and more about the real life of Versace, and the complexity of women's lives,” she said. “They run their own business, look after their family, travel, share time with friends, all often in the same day. I wanted to show the fullness of the Versace life in our campaign.”
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This collection welcomes the return of the Versace signature baroque, revolutionised in graphic black all-over prints against ice shades. Glacier shards cut through dresses, or create embroidered jagged edges that join panels on sweaters and coats. Outerwear is a focus, and we love the ice pink embossed biker and raw-edge duffels with leather-lined hoods that ooze attitude. The ice palette continues in a mirage of exceptional intarsia furs, contrasted against the black sheepskin coats treated to be both matte and patent. Sequins are key. Oversized sequins create jagged patterns on shimmer dresses and spill down black knit sweaters, making them the season’s must-have for night. In terms of accessories, the brand’s new Ryder bag has a soft envelope structure and metallic fastening that’s both elegant and totally functional for urban living –the overriding theme of the collection. The Palazzo Empire bag appears in fresh new colourways and is accessorised with special charms and fox tails. Metallic heels are like dramatic shards of ice, the soles in memory foam with insteps lined in titanium, while kitten heels get a new attitude with ankle straps. Talking about the collection Donatella Versace explains: “This collection is so important to me. Every single piece is wearable, desirable, real. It's about expressing a woman’s strength and her individuality.” We think Versace, as ever, has managed to do just that.
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Autumn/Winter 2016
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f her latest autumn/winter 2016 collection Victoria Beckham said: “This collection is a statement of the continuing evolution of my personal style and design ethos. I set out to refine key wardrobe pieces in new proportions developed from my signature silhouettes, techniques and fabrications.”
Her brand began some fifteen seasons ago with a lineup of ten dresses – and it has come a long way since then with a new 2,200sq ft store having opened in the heart of Hong Kong in March of this year. Backstage before her show in New York, she said: “It’s just what I want to wear now but in a fresh way.” Judging by her latest collection, what Beckham wants to wear now are corsets as daywear, checks with intentionally unfinished threads and oversized coats designed to shut out the wind, if not the world. Beckham has taken her signature corset dresses from night to day by de-boning them and making them in softer fabrics. Wool bodices were worn with midi-length skirts, accompanied by flat, pointed, buckled shoes. She said she had wanted the collection to recall where she started from as a designer, those ten corset dresses which formed the pillars of a fashion business that turned over £34 million last year. Back then, in 2008, the
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mood was as controlled and uptight as the corset dresses but now it is all about easiness and relaxed luxury. Like her silhouettes Beckham has relaxed. Like her layers, she’s lightened up. One slinky ribbed corset trimmed with ivory silk came partnered with a pair of highwaisted gabardine pants, a look Victoria pointed out as one of her favourites. “I go to so many red carpet events, and this is exactly what I want to wear on the red carpet right now.” The outfits were unpretentious and naturally chic rather than showy and unrealistic. Coats are standout in this collection – from fringed blanket styles to mannish overcoats in heritage tweed, punctuated with giant sized buttons. The collection’s colour palette is of the season, throwing out shades of navy blue, black, ivory, terracotta, dark green and mustard. Hourglass shapes have been reworked and exaggerated. She revisited the slip dress too, keeping the bra-shape top but adding volume via tulip skirts, which hovered around midi length. These balloon volumes, together with bodices and knits, have been layered together to create a look for autumn that resonates a new freshness and champions VB’s sense of a strong femininity with boyish undertones.
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Salvatore Ferragamo – women’s A/W 2016
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collide, volumes overlap, and the finest monotone fabrics are ignited by exuberant colours and motifs. The resulting garments and accessories offer a luxurious exploration through the familiar and the unexpected, creating something new and upbeat.
Today the brand continues to flourish under the creative direction of Massimiliano Giornetti. For women’s autumn/winter 2016 Giornetti presents a collection flowing with playful juxtapositions and elegant contradictions to express an unabashed feeling of joy. Textures wilfully
Giornetti is hugely influenced and inspired by the art movements of the 1920s and 1930s, feeling their inherent sense of freedom and opportunity mirrors the innovative spirit of founder Salvatore Ferragamo. His latest collection is therefore constructed around the theme of assemblage – a detailed patchwork bursting with ideas and experimentation. He strikes the perfect balance between colour and its negation. Despite the many total black looks, the heart of the collection lies in ensembles in vibrant hues and bold graphics on linear silhouettes that still show great craftsmanship expertise. Multi-coloured knits are anchored together by
talian luxury goods company, Salvatore Ferragamo, specialises in shoes, leather goods, and ready-to-wear collections for both men and women. Emigrating from southern Italy to Boston and then California in 1914, Salvatore opened the Hollywood Boot Shop in 1923, and made shoes for movie stars such as Joan Crawford and Gloria Swanson. He then returned to Italy and set up a shoe shop in Florence in 1927, which flourished and saw Salvatore work with film stars and celebrities including Audrey Hepburn, Sophia Loren and Greta Garbo to name a few.
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maxi buttons. Stripes and black and white optical motifs paint frock coats while a myriad of geometric shapes zigzag in vitamin colours across sheaths, capes, quilted satin tops and even fur numbers. This collection rejects perfect coordination bringing verve and modernity throughout the collection. A highly structured black-and-white striped coat is given an ironic twist with mink pompoms as buttons; whimsical skateboards and spinning tops are printed upon sensual silk shirts; geometry’s rigour is smoothed out with the presence of scalloped hem dresses and capes. The collection also makes room for colour block slip dresses in fine pleats. Colours span wisteria, mango yellow, white, vermillion, mud, black and emerald green. Lengths are exclusively midi throughout, and materials are silk, wool, fur, suede, reptile skin, leather, knitwear, buttons, woollen cloth, chiffon and satin. The resulting silhouette evokes the aristocratic woman with a maverick streak, her femininity accentuated by shark’s tooth belts, her girly side showing itself in the printed lining of capes and playful quilted skirts. The geometric zigzag reappears in stitched detailing upon kaleidoscopic ankle boots in suede and lizard skin, and across the handbag collection, even reaching the pendant earrings. This is a collection designed to stir the senses, to invigorate emotions, and reveal that beyond the surface reside all manner of intricacies and details, as if to celebrate the nuances, layers and endless possibilities of the modern woman.
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Lanvin Women Autumn/Winter 2016
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his season saw the talented Chloé Alumna step into the shoes of Lanvin’s departing long-time creative director Alber Elbaz. Alumna continued the romantic narrative synonymous with the brand and turned out a femme winter 2016 collection that is all about falling in love with a moment of time.
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spirited, the Lanvin woman expresses herself through her wardrobe, twisting bold men’s tailoring with a more tender side, favouring fluidity and sensuality. This is seen in the collection’s black patent trench coat edged with chiffon frills, a black brocade tuxedo jacket with jewelled lapels and masculine check fabrics mixed with the tenderness of glowing pastels.
One of the most innovative designers of her time, Jeanne Lanvin created a brand centred around love and liberty. This collection is deeply rooted in that holistic heritage and has the Lanvin woman in mind. Vivid and
This collection is opulent, embellished and inherently elegant. A number of shimmery eveningwear options are inspired by the Lanvin archives, including a whimsical Bijou dress sculpted in rich burgundy velvet and
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adorned with crystal embroidered detailing on the bodice – reassuring elegance with a funky twist. We like the rich midnight blue cocktail dress with frills that circle the body in a familiar asymmetric fashion, teamed with a black patent mac. Colour travels in this collection – from vibrant jewel tones inspired by aristocratic interiors to shades of vanilla skies and beaches in wintertime, offering an electric spectrum of shades and fabrics. Lavish deep purples, metallic silver and copper and night blue and black contrast with lavender, mint, aqua and apricot. In addition to the diaphanous draping and soft tailoring, bold accessories make up the unmistakable Lanvin look. Gem-encrusted chokers and cuffs, tiger eye pendants and
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elaborate chandelier earrings are perfect for jazzing up ensembles, and along with black heeled lace-up shoes have considerable after-dark appeal. Eclectic, luxurious and feminine: this season’s bags are a mirage of effects, fabrics and couture details. The Jiji by Lanvin, originally created for the Resort 2016 collection, has become a house classsic and is now availble in four different sizes and new colours including rosewood and mint green, boasting a silver chain and clasp. Favourites include the LALA embellished with saddle stitches and venetian ruffles, the sophisticated Sugar with its quilted soft lambskin, and the Looka Bag by Lanvin, a new model with coordinated piping in python, silver laminated or light green sued calfkin, all lined with the iconic Lanvin blue. Evening clutches in tricolor suede and python and with gold detailing complete the collection.
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COACH A/W 2016 WOMENSWEAR
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or autumn 2016 Coach, revived by Stuart Vevers, has electrified both American youth and its audience celebrating both the cool and the chic for a house in full evolution. Vevers said: “To me this is a reset for Coach. My arrival at Coach was about a big change for the brand. This is about American Cool.” He describes this collection as a magpie exploration of Americana, re-imagined for urban life. Ice hockey and team sport uniforms are personalised and refreshed with varsity patches and saddle stitching and plaids feature heavily throughout. The British designer likes to immerse himself in the nostalgia of cult cinema, and his references for autumn are a disparate and quirky mix that include Jodie Foster in Taxi Driver, Rob Lowe in Youngblood, and Scooby-Doo’s bespectacled sidekick, Velma Dinkley. You can trace Velma and Jodie’s characters in the kooky butterflycollar dresses that are a patchwork of paisley and plaid, typically retro, American style summer dresses.
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This collection is about reconfiguring symbols of toughness with femininity and nostalgia – splicing familiar American archetypes with the gentle charm and character that suggests a previous life, and reassembling dream thrift finds with the eclecticism and juxtaposition of New York city style. In his first collection Vevers honed in on the current trend for shearling, and his sheepskin coats have proved to be a street style hit, hence their re-emergence in this collection. From shearling puffers and teddys through to bikers, these coats with their comforting materials like sheepskin and functional zip additions have never been so showcased. The beauty of leather and shearling in a rough and ready state, with stitch and seam exposed, truly celebrates the honesty of craft. Vevers says in this collection he is “Recontextualising the familiar with a lowfi take on craftsmanship, luxury and their traditional reference points. Resetting for a new conversation that could only be born of America.” In terms of accessories he throws out rivet loafers, Chelsea boots and suede rogues. We think there’s definitely something warm and inviting about the new fur-lined high-top sneakers. Young fans of the brand who aren’t ready to ditch their flats for the incoming stiletto trend will certainly get their kicks here!
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D&G A/W 2016 MENSWEAR
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t Dolce & Gabbana for autumn/winter we replay the spaghetti western way of the 21st century. The collection’s theme is sophisticated Western Sicilian cowboys. Suits are embroidered with roses, cacti and revolvers.
The designers have grown a Sicilian garden for autumn/winter and created an unexpected interpretation of nature. The natural luxuriance of Sicily and the exuberant tradition of the carretto have been reinterpreted in unexpected camouflages that play on the shades of dark green, brown and grey, while stylised foliage and flowers create elegant patterns on precious fabrics. For this brand family is everything, meaning the instantly recognisable naïf patches which have come to represent the #DGFAMILY in all its interpretations decorate tshirts and accessories ranging from small leather goods to footwear throughout the collection. The sparkling, avant-garde atmosphere of the Sicilian Belle Époque represented by the Villino Florio in Palermo lives on in the refined elegance of the floral prints, whose soft arboreal lines evoke the splendour and charm of the Art Nouveau period. Slogan t-shirts deliver a romantic message, with the prints and embroideries being a declaration of love for life, a tribute to Italian festiveness, a celebration of the family… a Sicilian serenade sung to win over the most enchanting of all the ladies.
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However, despite the abundance of Western motifs and the line’s striking shearling ponchos, this is still a collection consistent with the current iterations of the Dolce & Gabbana man. The brooding Sicilian workman, out of time, is brought to us in an oversize peacoat and flat cap, or more fantastically in shearling floorsweeper overcoats, some memorable shearling pants, and rib-knit long johns. The cultured aficionado of contemporary luxury streetwear sports shearling sweats are beaded with the house’s sacred heart and Velcro monk-strap sneakers are rimmed with fur. Most present is the archetype of international playboy princeling, decked out in precisely fitted piped white shirting and dark tailoring that shimmers with embellishment or tonal jacquard. Westernalia was not the only seasoning sprinkled over this collection. Embroideries heaped upon topcoats and trucker jackets – the denim section was one to linger over – included tapestried roses and putti. Buzzing anew was the little bee symbol on gold chains, patches and pyjamas. Westernised versions of the house’s faux-naif illustrations on a sweatshirt, depict Domenico and Stefano – and even some meme-tastic illustrations of Zambia, Stefano’s cat. Luxurious fabrics run throughout including raw, enveloping fur that even extends to footwear and the cosiest slippers we have seen all season. This collection also delivered some of the finest top-of-theline tailoring and extrovert outerwear in the business, plus D&G-pioneered silk pyjamas, which are now becoming a category all their own.
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DSQUARED2 A/W 2016 MENSWEAR Autumn 2016 sees Great Britain meet Japan in a lineup that plays off the two cultures anchored in the Dsquared2 DNA of denim, leather and graphics. Dsquared2 designers Dan and Dean Caten believe Japan and the UK meet “in a pleat. The samurai had these big skirts, with these big volumes; and then there’s the kilt and its pleated volume, and we’re matching the two worlds.” The collection finds its edge riffing on volume and texture. Supersized anoraks and bomber jackets come in jacquard kimono inspired fabrics, embroidered satin and leather. A metallic peacoat is cut from crumply silver nylon paper, whilst oversized outerwear is constructed with long wool overcoats on the outside and a down jacket on the interior. Karate style fold-over shirts layered underneath complete the look. A plain navy raincoat bonded with leather, or stiff metallics come teamed with mighty piper boots to deliver future urban armour created for fun.
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To intensify the Japanese flavour, there are shortened judo jackets and pants under an embroidered topcoat. There are bombers and a brace-crossed denim trucker patched with poppy Asian graphics. Cranes and kabuki and snowflakes and samurai pinups in a print collage were all chucked cheerily into the mix. Zippy pants, shorts and jeans are teamed with tartan kilts to add a base layer of punk. Fabricated in indigo denim, check, silk and wool, the kilts fall at the knee or swoosh to the floor, recalling Japanese warriors and clerical garms. Signature Dsquared2 styling of a shirt tied around the waist is included via a kilt with check shirtsleeves that knot at the waist. Glossy satin black shirts and embroidered Japanese wording are inspired by Ninja fighters. Beaded Japanese flowers adorn tshirts, bombers and zipped pants. A particular favourite for us is a House exclusive print on a satin parka, denim jacket and rucksack, inspired by Manga culture. Shoes are designed to accent the collection’s diverse styles. Chunky bagpiper influenced boots with trekking lacing are worn with kilts, while pointed white and black lace-ups are a sharp, clean finish to the bright Manga print.
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V E R S A C E AW
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ports and space are the themes of Donatella Versace’s autumn 2016 collection. It’s written in the stars – a wardrobe from the heavens created for the Versace man today; this is the universe of Versace. Donatella Versace says, “The Versace man is a pioneer, his ambition as big as the universe. This is a collection for men who are totally real, totally bold and totally connected with the future.”
Versace’s menswear business forms approximately half of its turnover, and it’s only going up. Perhaps those skyrocketing figures inspired Donatella Versace’s intergalactic trip. “I’m thinking of the future,” said the designer. “This is the ultimate expression of the future: space.” It’s a collection filled with flight jackets strapped and zippered like space suits; suctioned leggings; fibre optic tracksuits, light-up sweatshirts; buckled scuba sneakers and jackets festooned with NASA-Versace space badges featuring the house’s Medusa head in stars. According to Versace tracksuits are the essential of tomorrow, whether it’s merino wool zip-ups with a zig-zag at the neck, or drawstring trackpants enriched with embellishments. Sleek tailoring and space-age metallic trenches are worn over white rollnecks, while Prince of Wales suits are embellished with eyelets and grommets. 193 S I M P LY A B U D H A B I
MA1 flying jackets have astronaut attitude, while outerwear is embellished as if with space debris, and shearling collar denim jackets are like a space uniform. An iconic Versace astrological print is reworked and revitalised, while a star map Medusa print has been newly developed and looks perfect on jeans. Colours and fabrics refer to the galaxies, whether its metallic leather zip-ups in Neptune blue, double-breasted coats the beige of moonstone, and tweeds like the Milky Way. Unlined coats in double-faced raw-edged cashmere are the grey of the moon, the ultimate when worn with cashmere joggers. Cropped leather jackets are embroidered with patches, while lapel badges on coats and suits are like the emblem of a spaceship. Crystals decorate denim jackets and jeans like constellations of stars. Lace-ups have chunky soles but no instep, as if cut away, while trainers are like tech cycling boots. Bags come with their own protective covering. The new V-Race Driver watch makes its debut, with a special edition featuring a mother-of- pearl dial as if for the surface of the moon. It’s a bold collection and we certainly think Donatella has gone where no man has ever gone before with this line.
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COACH A/W 2016 MENSWEAR
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tuart Vevers certainly seems to be fascinated with his new digs at Coach 1941, its HQ towering over the High Line right in the centre of New York City. There’s a wide-eyed wonder, a wholehearted embracing of Americana in his work. He plays fast and bold with American archetypes and even dedicated his autumn 2016 collection to American music, to late 1970s hip-hop and Bruce Springsteen. It’s all about finding the heroic in everyday American life. Reimagining East Coast, bluecollar masculine style – Bruce meets the early days of New York hip-hop. This collection commands a nostalgic glance towards a spirit of optimism, rebellion and promise born of the American dream, alongside the individuality that’s unique to the city and its melting pot of cultures. It is mostly manifested in accessory tricks, such as Born In The USA bandanas designed to be knotted around necks and hips, and deep bucket hats to be tugged low on the face.
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A few jackets in patched leathers of various variegated browns are distinctly 1970s, but otherwise what Vevers has designed is a line of menswear staples – everyday lumberjack shirts, peacoats, down jackets and battered Perfectos that everybody should have. He brings a curation of cult wardrobe pieces with details driven by utility, blown up to their ultimate expression in cartoonish, oversized proportions. Vevers says his collection is an unpretentious, low-fi take on luxury, reset and reimagined for a new conversation. He talked about the notion of “heroing the blue collar” in this collection and he has delivered blue-collar garments – staples, and basics. “A cool sweatshirt, a witty bag, and a pumped-up sneaker – that’s what appeals to me today, and to a younger guy. That could be luxury.” Cool is a word Vevers is interested in, too – a quintessentially American notion, it popped up in the 1940s, when Coach was founded (the label celebrates its 75th birthday this year) and when the idea of the teenager first began to be mooted as a cultural touchstone. And Vevers’ clothes today look, simply, cool: cool jackets, cool sweaters, a cool bunch of the brand’s signature reversed shearling coats whose fuzzy dandelion-fluff volume emphatically punctuate the collection. He has designed an accessible collection, both in financial terms and also aesthetics. His Coach clothes include references that everyone can understand. We hope that Vevers will see plenty more customers come autumn and that they’ll be looking cool in the Coach label.
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PAL ZILERI A/W 2016 MENSWEAR
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lassic menswear got spun with a techno twist this season at Pal Zileri, where wide-leg trouser suits were paired with glittering lurex sweaters and heavily panelled outerwear. Championing the new spirit and energy of the Italian men’s brand, Pal Zileri reinvents its house classics with a hint of glamour, seamlessly mismatching lean tailoring, high-end sportswear, sartorial details and bonded leather pieces to contemporary effect. For us standouts are the classic camel haired coats belted like dressing gowns and the hunter green anorak with astrakhan pockets. Outerwear is defined by geometric quilting, a reoccurring theme throughout, or optical jacquard patterns with a 3D effect on traditional wools. 200 S I M P LY A B U D H A B I
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In tonal or bold contrasts, the palette veers from sky and midnight blue, ink black, rusty brown, olive green, camel and dark lavender. Never too classic or predictable, evening dressing leaves ample room to personal mixingand-matching for a contemporary after-dark look. A case in point? A zipped coat with swakara details over a tuxedo jacket and sartorial gym pants. Accessories this season brought the boys down to earth whether it was in rugged military boots or thick soled lace ups, or felted wool skull caps, bringing a cool edge and a modern urban twist.
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S a l v a t o r e Fe r r a g a m o A / W 2 0 1 6 M e n s w e a r
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his season Salvatore Ferragamo presents the finest codes and traditions of masculine dressing, forming a masterfully-tailored blank canvas upon which a rich tapestry of fabrics, colours, motifs, textures and volumes is applied – in doing so, creating something new and unexpected, fresh and vibrant.
A pair of Andy Warhol’s paint-splattered, classic Ferragamo oxfords heralded the starting point for creative director Massimiliano Giornetti. The shoes’ mix of formality and relaxed artistry became a metaphor and mission statement for a collection that transforms the classic menswear wardrobe into a platform for character, emotion and experience. The artist purchased a pair of Ferragamo oxfords – apparently the only for-men shoe style the Bonito-born
footwear maestro ever designed – and wore them to paint in. Following Warhol’s death, casa Ferragamo bought Warhol’s shoes, complete with a random scatter of different-colored paint spatters. Reproductions of these oxfords thus grounded every look of his autumn collection. Big shoes to step into but Giornetti didn’t disappoint. He said he was exploring a dialectic of sartorial classicism and fashion artistry. Paradox and contradiction is key: perfect matches are avoided whilst clashes are embraced. Sharply tailored single and doublebreasted suits in finest British mohair and Italian wool are presented in herringbone, houndstooth and Prince of Wales checks and cashmere knitwear, silk shirts and scarves are showcased in a kaleidoscopic explosion of colour and printed patterns.
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Classic men’s outerwear explores further juxtapositions. Heritage and modernity, geometric and the freeform, sharpness and softness all interact to create a new sartorial language. The bomber jacket is reconfigured with a patchwork of rich shearling and ultra-modern Japanese nylon, or woven in black-andwhite trompe l’oeil Jacquard motifs; the winter Macintosh is presented in pure white while shearling collars bring layered volume to overcoats and tan leather flying jackets; indeed, duality becomes literal within a reversible cotton and mohair parka.
The precision of the paint-dripped Oxfords – presented in leather or suede, some inner-lined with coloured shearling, or extended into ankle boots – is offset by the softness of canvas, suede or shearling, holdall bags, which in a wink to the utilitarian needs of the masculine wardrobe also transform into backpacks. The collection was designed to be personalised according to each man’s individual identity, personality, lifestyle, needs and desires – celebrating nuance as a statement of freedom from the increasingly homogenous world in which we live.
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rench brand Bonpoint designs clothing for little princes and princesses that is both practical and cosy, but also whimsical and charming. Having just celebrated its 40th anniversary last year, the brand is a testament to classic French style, with each piece handcrafted in the couture atelier set in the heart of Paris.
Inspiration for each collection comes from Artistic Director Christine Innamorato. And it seems the entire globe has become more and more enchanted with her fairytale world. Who could forget Kate Moss’s ethereal wedding in 2011 featuring a cortege of Bonpoint flower girls, all dressed in exquisite ivory silk and chiffon dresses created by the brand’s Parisian atelier. The brand includes collections for newborns and babies, boys and girls, as well as shoes and its own skincare range. Teenage girls are not forgotten either thanks to its smart YAM collection, which features metallic bomber jackets, military detailing and whimsical yet trendy pieces like gingham dresses and kitsch cardigans. For winter 2016, Bonpoint dreams of sweet & happy things with four different themes: Jules & Jim, Heid, Wild and Sweet Couture. Everything is imbued with the wistfully poetic world of the circus and Bartabas’ Zingaro equestrian theatre. With Jules & Jim, girls adopt a more androgynous look by borrowing pieces from the boys’ wardrobe: an overcoat, a duffle coat, a two-piece suit, a velvet tuxedo, high-waisted jeans with big turn-ups, and an argyle sweater with matching long socks. But sobriety quickly gets pushed aside by a pair of gold sneakers, a printed bow tie or a scarlet beret. We embrace the simple blouses embellished with ruffled collars just as much as the tightly pleated English tartan kilts and frothy jacquard sweaters. Graphic prints such as polka dots, little cats and big birds rub shoulders and run merrily with English and Japanese tartans. For Heidi, Innamorato is daydreaming of a back-to-school look that’s resolutely folkloric. Preppy becomes eccentric with a brazen bright red and colourful Bavarian embroideries. There are Franz-Joseph inspired coats with golden buttons and panther collared capes, cross-back braces and felted Edelweiss brooches to silver double-strap ballet slippers and an officer’s cap. Wild brings supple wool, cosy Mongolian lambskin, cashmere, warm prints, delicate lace and fluffy mohair to the collection, as this theme is all about cocooning. Shades of milky white and cream, with accents of acid yellow make for a bright and luminous winter. Marled wool is embroidered for the iconic dresses and the beloved Bonpoint cherries come in gold or silver lurex, turning sweaters into surprising sweatshirts. Stone-wash jeans, a faded floral print, cableknit sweaters and natural sheepskins compose the perfect wardrobe for a theme inspired by nature and wide open spaces.
BONPOINT A/W 2016 CHILDRENSWEAR
The collection’s final theme, Sweet Couture, is close to the brand’s heart. Here we find iconic designs renewed in unexpected colours. Sweet Couture indulges in every possible shade of pink, from powder to dusky, from sugared almond to strawberry pink, all uniting with greys and milky white for a silhouette that couldn’t be sweeter. This theme focuses on sublime materials and beautiful finishes as well as trompe-l’oeil jewel prints. Setting the tone are ivory quilted silk jackets with mother-of-pearl buttons, candybox coats, a Liberty print shirt with braided collar, a tulle skirt embroidered with gold or silver drops, a rosebud print cashmere twin-set, a Swiss dot cotton blouse and jeans whose pockets are rubbed with gold powder. So many fantasies in one season means a childrenswear line full of enchantment and a touch of French magic. Swathed in the imaginary and the mysterious, it truly is a collection that sings of old-world charm and nonchalance.
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elcome back to Simply Beauty. It's been a busy season with lots of exciting new launches and innovations in the cosmetic world, all of which can be enjoyed by women everywhere, no matter what walk of life. For this issue, I have some special treats in store for you. Firstly, our lovely friends at Dolce & Gabbana have told us all about their new fragrance releases. Do you recall their well-known classic scent Light Blue? Well, it's still going strong and just as popular as when it first launched. So much so that we now have its little brother and sister to enjoy. In a limited edition release, these are sure to be snapped up by fans and collectors alike, so get your orders in quick! I have tracked down some other experts in their fields in the form of skincare and makeup aficionados. First up, if you don't know her name yet, be sure to learn it, as all the A-list have been trusting her with their facial skincare for years. Sarah Chapman is the woman with the Midas touch who is called upon by those in the know. She and her team will transform your skin with the facials she performs in her chic London clinic, whilst her high-end skincare range will sort you out in the interim when you're continuing your routine at home. Once you've tried it, you'll never look back; her customers are fiercely loyal and it's easy to see why. Then looking towards California, we can see the light… lots of light! Hourglass makeup has revolutionised how we present our skin. Tricks of the light with products that catch it and bounce it into all the right places. Pores and fine lines are blurred, imperfections concealed and you suddenly look a lot more healthy. It's the ideal complexion we've all been dreaming about, now much more within reach. We also hear from the brand’s founder, Carisa Janes. Believe me when I say, once you hear all she has to say on the subject, you'll be first in the queue to try her products. I hope these brands inspire you to try something new, indulge yourself and see what's possible. With a little effort and a slight change of direction, you too can achieve incredible results with your beauty regimen. I would very much like to hear your opinions and comments on anything I cover here at Simply Beauty, so please feel free to get in touch. You can find me via my Twitter, Instagram and Snapchat on @beautisserie and I look forward to interacting with you. As ever, if there's anything in the beauty world you'd like me to look into, let me know and I'll get onto it – I'm here for you! My website can be viewed at www.beautisserie.com which showcases my makeup artistry and other Simply Abu Dhabi articles. Keep well, Sophie McMullan Beauty Editor
S I M PLY BE A U T I F U L By S op h i e M cM u l l a n
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Hourglass: Time for beautiful skin L
aunched back in 2004, Californian brand Hourglass arrived on the beauty scene with a huge presence. Combining scientific technology with luxurious packaging, here was a cosmetic line that knew what it was doing. With desirable products that have created waiting lists and are selling out worldwide, their fan base continues to grow. Bloggers, YouTubers and industry professionals praise their formulations all over social media, creating a frenzy for consumers to get a piece of the action. Once you've tried their products, in particular their renowned Ambient Lighting Powders, you will instantly see that the hype is well deserved. A sweep of their magical powder all over your face and your imperfections are blurred. It's like having your own personal lighting technician, in your makeup bag. Contouring, highlighting, glow, radiance and more recently 'strobing' are all trends that are not going away, so if you've not tried it, you need to. To clarify the wonder behind these products, I've gone straight to the source for answers from Hourglass' founder, Carisa Janes. She knows everything there is to know about lighting and how to manipulate it. Thanks to her products, we can cheat our way to beautiful skin. I'm obsessed!
Hourglass' founder, Carisa Janes.
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To what extent does lighting affect the appearance of our skin?
I prefer to create depth and dimension with light instead of contouring with dark shades. Hourglass’ Ambient Strobe Lighting Powders can be used to create a refined, natural highlight around the highpoints of your face. This plays up where light naturally hits and is universally flattering.
You know what’s worse than a bad hair day? A bad light day! The experience of bad light is universally understood. From office light to candlelight, you look different. But what’s surprising, is how your skin interacts with light. There’s truth to the phrase ‘a youthful glow’. As we age, skin loses its luminescence. Younger skin simply glows more than older skin. In good light – or with the right products – light can help your skin appear more beautiful, healthier and younger.
Do you have any tips for bringing radiance and light to the skin? Ambient Lighting Powder has become indispensable for so many women because it’s like having a personal lighting technician. I like to dust Dim Light all over but focus on the centre of my face to soften imperfections. I follow that by adding Radiant Light as a contour under the cheekbones and on the temples to add a bit of warmth. I then finish off with a light dusting of either Luminous Light or Incandescent Strobe Lighting Powder on the tops of the cheekbones, under the brow and the bridge of the nose to brighten my complexion. The result is the appearance of younger, softer and perfectly lit skin.
Hourglass’ Ambient Lighting Powders and Ambient Strobe Powders address this deficiency with photoluminescent technology. Unlike traditional powders that use opaque pigments to cloak the skin, Ambient uses micronsize photoluminescent spheres that neutralise the complexion without leaving a mask-like appearance. The optically transparent particles alter the appearance of the skin by manipulating and refracting favourable light. When illuminated by invisible UV light, the particles glow on the complexion, minimising the appearance of wrinkles and imperfections, and neutralising discoloration. In short, the particles emulate the light emission pattern of young, healthy skin. The result is skin that looks smooth, even, and enhanced – not masked.
When it comes to adding light, what makes your formulations so unique? It's important with light reflection that you pay attention to the texture of the lighting product, as well as to any soft focus particles or photoluminescence in it. The smaller the particles, the more subtle the light reflection and the softer and more sophisticated the glow. Anything too large or too textured will give you a finish that may read as dated and too grainy on the skin.
What made you focus on lighting and bringing radiance to the face? I have always been inspired by the power of light. I live in California, where the light is magical – warm and radiant. I notice a difference when I travel around the globe. Lighting varies city by city. It affects the way you look. But it was my mother who first introduced me to the concept of good lighting; she always had pink light bulbs around the house. Pink light is a soft, flattering light – this first taught me the idea of good light.
Hourglass' Ambient Lighting Powders have extremely fine, soft focus, photoluminescent particles that do not read on the skin like traditional powders. These powders diffuse light in a very subtle and sophisticated way and come in six shades that can be worn together to create a multidimensional luminescence. The proprietary state-of-the-art formula delivers a multi-dimensional luminescence to every skin tone, making it appear softer, younger and perfectly lit.
When recreating flattering lighting on your skin are there specific areas we should focus on? There are a few. Our Ambient Powders are to be used as finishing powders and applied all over the face. The powders alter the perceived appearance of the complexion by manipulating and filtering out harsh light. They capture, diffuse and soften the way light is reflected on skin, brighten the appearance, and conceal skin imperfections, pores and wrinkles.
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Sarah Chapman Skincare
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It made perfect sense, then, in 2008, when she released her Skinesis collection of products. The scent of each lotion, oil, cream or balm is so luxurious, it makes them a joy to apply. Sleek packaging that dispenses perfectly, and in a hygienic way, ensures you're using just the right amount and utilising each drop to the best of its ability. All skin types can use the range and if you're not sure which to try, Sarah's expert consultants are on hand to show and advise you. Take a seat in the Theory Bar where you can play and enjoy the range before deciding which to take away.
aving gained the reputation as one of London's most sought-after facialists, it was only a matter of time before Sarah Chapman released her own range of skincare products. With the new launch, not to mention the opening of a Sarah Chapman skincare clinic in the heart of London in spring of 2015, this is a success story like no other. With celebrities, socialites, royalty and beauty editors already regular visitors to have Sarah transform their skin, now we can all have a piece of the action, whether with a product we take home to apply ourselves, or by booking in with Sarah (if you can take the waiting list!) or one of her highly trained skin specialists.
There's also the Hub where your skin can be diagnosed with what it really needs. Whether you have a personal one-on-one or get the skin scanner to show you any damage, dehydration and the like, it will all be very clear and understood what you should be treating yourself to in order to hone your regimen and see results.
Combining state-of-the-art technology with active ingredients, the products’ scientific and natural philosophies work in synergy to improve our skin. The Skinesis range – as well as the massage techniques in the facials – rival all others to really deliver results. Her already loyal clients have taken note, and it’s why they keep returning to continue their improved skin. Praised by many of the top publications like Vogue, Tatler, Instyle and Harper’s Bazaar, it's now no secret that Sarah Chapman is a facialist in a league of her own.
Right next to the Hub is an area which is slightly more private, where one can experience the Skin-Glow LED Light Pod. I've heard great things about this too, as it's a quick fix for those who don’t have much time but want a quick boost to their skin. Science is again at work here: LED lights in their most powerful (yet harmless) form will give your
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skin a recharge in as little as twenty minutes. Simply sit there (with our without makeup on) and the beaming lights inside the discreet pod will penetrate your skin, giving an instant radiance. Glow on the go, indeed!
There's also the option to call on an aesthetic nurse if you're interested in treatments like Botox and fillers. Everything for the face has been thought of. You can even have your lashes or brows tinted and shaped as a nice add-on to your experience.
A totally elegant space, the ground floor in Sarah's Chelsea clinic is a well thought out area of retail space and exploration zones. All decked out with elegant light features, antique mirror finishes and dashes of natural colour here and there, the feeling is of a futuristic yet relaxing atmosphere. Up the spiral staircase, you enter into a haven of treatment rooms. Quiet and serene, there’s a very private and professional feel to it. You could almost hear a pin drop. Various treatment rooms are housed away, with the therapists treating their clients to a number of facials on offer, from the bespoke signature facials, through to Nanocell Peels, IPL and even Dermaroller treatments. Have any little thread veins or capillaries you'd like to get rid of on your face? How about hyperpigmentation? They can cater for these requests too.
Product-wise, you can't go wrong with the Overnight Facial, which has won countless awards and praise from industry insiders – so much so that there is now a Morning Facial to continue its results around the clock. Other heroes in the line include Dynamic Defence SPF15 and Age Repair Concentrate in the growing range of paraben-free and high-performance, results-driven formulas. Speaking with Sarah, you find that even her voice is relaxing. Knowledgeable and calm, she will instantly make you feel at ease. As she says herself, "My aim is to offer the most effective performance skin treatments, combining science and technology, cosseted in luxury." That she has done, in abundance.
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Modern Classics: The new fragrance collections from Dolce & Gabbana
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olce & Gabbana have been creating unique and covetable fragrances since 1985. True masters of their craft, designing beautiful clothes for women and men has long been their forte, but they’ve proven over time they are serious contenders in the fragrance market as well. After all, every Dolce & Gabbana fan needs an accessory – and what better one than a distinctive scent from the designers themselves?
Everyone knows and loves the Light Blue fragrance. I rediscovered it a few months ago when I was after something fresh to take me into spring/summer – and it was just that, in a bottle. So fresh and uplifting, it has stood the test of time and is still as popular now as it's ever been. With those alluring yet cheeky commercials on television, who can blame them for having some light-hearted fun with a scent? David Gandy, frolicking on a boat with an equally beautiful woman, both dressed in white summer wear, they're both selling the Italian dream perfectly. Available for both men and women, the fragrance’s popularity has spurred a new release to complement the range. For women, we now have Light Blue Love in Capri and for men, Light Blue Beauty of Capri. What strikes you first is the beautiful packaging. The side shot from Mount Solaro, overlooking the sea, allows your mind to escape to an oasis of calm. Yet again, the bottles themselves are light blue in shade, to mimic the colour of the water at Grotta Azzurra. Steel detailing and a white cap (a nod to the white villas of Anacapri) add even more freshness to the rest of the Light Blue family. These are both limited edition for 2016, so be sure to capture them before they sail away for good. Celebrate the island of Capri in all its splendour and romantic moods with these delicious fragrances. Both are fresh and uplifting, exotic yet serene. Zesty top notes from mandarin and lemon lead through to white florals, honeysuckle and almonds, all of which are well known and loved in Capri, the pearl of the Mediterranean.
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The male fragrance is further aromatic, with notes of bitter orange, bergamot and vibrant Sichuan pepper. It’s perfect for daytime, or for transitioning into the evening, as the musky cedar wood and dry amber will warm up on the skin and stir your senses. Whichever you choose, the salty air from the sea and the warm sun beaming on the rocks of the designers' homeland will all be remembered in this timeless collection. Also new for 2016 is the Velvet Pure collection. A totally different set of fragrances, looking more towards the chic concept of traditional luxury. Vintage Italian ingredients have been carefully selected to ensure each perfume is of utmost quality and a one-of-a-kind offering. Like their namesake velvet fabric, each perfume is full-bodied and sensual against the skin and gives a unique feeling to the wearer. As with everything designed by Dolce & Gabbana, each bottle of Velvet Pure has been created with their artisan approach to making simply beautiful objects. Using precious, natural and often rare ingredients, great care and precision has been required to finish these scents off to perfection.
Luxurious yet traditional, this family of fragrances is like no other. Each one has a distinct look, feel and scent, using the highest quality ingredients – but all include the reseda flower, which is a floral ingredient that has been overlooked for many years. The designers have always wanted to re-introduce this natural beauty back into the world of perfume and now it's been captured in the best way possible. Growing in the Mediterranean, it's part of the European family and fits in perfectly with the Dolce & Gabbana brand. With a sturdy clear bottle housing the golden-hued perfume, it has a strong presence. Topped off with a velvet cap, it's soft to the touch. Each cap is a different shade of the decadent fabric, hinting as to what scent will be inside. You can imagine each one looking beautiful on your dresser – and having more than one lined up next to each other will be even more complimentary, as they are visually stunning. Beautiful to look at, and incredible to smell on your skin, choose from wood, rose, patchouli, oud and many more elements with Velvet Pure being the latest addition to the collection. A choice piece of Dolce & Gabbana in your life, whether just in your cosmetic collection or to pair alongside your designer wardrobe. Whatever your selection, you can be sure of having a bit of exquisite D&G craftsmanship in your own collection.
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S I M P L Y P R O P E RT Y
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ntroducing Historic Kilkee House Estate, perched on a private spit of 2 acres on Paradise Island, Bahamas. This grand Georgian Beach House was built over sixty years ago by the infamous American A&P heir, Huntington Hartford, who began the development of Paradise Island from humble British colonial farmland to the height of resort luxury. When acclaimed thespian, the late Sir Richard Harris, acquired it 29 years ago, he renamed it “Kilkee House” after the country of his birth, in his native Ireland. In addition to Mr. Hartford and Sir Richard themselves, the palatial home has played host to international icons such as The Beatles, The Rat Pack, Errol Flynn, Sir Richard Burton, Peter O’Toole, Pierce Brosnan and has been featured in the James Bond thriller, Thunderball, where the stunning Grotto stone pool was the backdrop for many of the scenes. With more than 200 feet of water on its southern harbour exposure, it also boasts the most pristine beachfront on its northern exposure, complete with helipad and dockage for boats and yachts of any size. Luxurious interior living space exceeds 11,000 square feet and includes four bedrooms ensuite, grand dressing rooms, extraordinary gourmet kitchen, formal dining room for seating of 18, grand foyer, original historic paneled library, living rooms, gymnasium, several spectacular loggia in varied exposures for maximum outdoor entertainment possibilities, a stunning poolside guest cottage with private terrace and well-appointed independent staff quarters. For private tour, please email Michelle Ross at Michelle@mmdrealty.com or call +954 471 9102.
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Ki lkee House Es tate
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Ki lkee House Es tate
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S I M P L Y T R AV E L
THE TIMELESS APPEAL OF MANDARIN ORIENTAL, BODRUM Situated on the legendary Paradise Bay, looking out over the same Aegean blue sea that inspired Homer’s Odyssey, a visit to Mandarin Oriental’s latest offering is a journey worth taking.
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ith its legendary service, distinctive Eastern-influenced design, and peerless 21st century luxury, the award-winning Mandarin Oriental brand has earned the highest accolades, both from the travel industry and from its devoted clientele. Adorned with the iconic fan-shaped logo, Mandarin Oriental properties, once exclusive to Asia, are now located in some of the most prestigious locations around the world.
One of the latest jewels in its crown is the exceptional Mandarin Oriental, Bodrum. The 5-star luxury resort and collection of residences is set along the glorious golden shores of Turkey’s Bodrum Peninsula, overlooking the deep blue waters of the Mediterranean and Aegean. Aside from the region’s wealth of history, one is also spoilt for choice if luxury shopping or exciting dining are more to your liking. It is with good reason that this area is known as the Turkish Riviera. The sun shines on Bodrum all year round, ensuring a warm welcome whatever the season. In summer, the heat is tempered by distinctive cooling zephyr breezes, offering pleasant relief for sun seekers, while the balmy days and beautiful light of wintertime ensure a laidback and relaxing stay. Bodrum is easily accessible year round via the brand new state-of-the art Milas-Bodrum International Airport and newly renovated domestic terminal, which is just 35 minutes away from the resort. In addition, many of the Aegean’s beautiful islands are reachable within one or two hours by boat, gracing Bodrum’s marinas with an abundance of visiting luxury yachts throughout the year.
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Once you see the magnificent property, you realise the Turkish Riviera was the perfect choice of location to highlight Mandarin Oriental’s unique blend of exotic charm and luxurious comfort. Offering pristine private beaches, but within easy distance of the bustling town of Göltürkbükü – which is fast becoming one of the most exclusive resort areas in the whole of the Mediterranean – Mandarin Oriental, Bodrum truly provides its guests and residents with the best of both worlds. The proximity to town offers much to see and do. By day, the calm, crystal sea exudes a serenity that is echoed in the muted hues of the untouched natural landscape. The town’s narrow streets and al fresco cafés provide the ideal spot for a leisurely breakfast, as luxurious yachts are welcomed into the natural harbour, their flags fluttering in the breeze. By night, Göltürkbükü is transformed by its vibrant and dynamic night-life. Elegant restaurants, stylish clubs and famed DJs create a high-energy hotspot for the world’s glitterati, who are free to revel into the early hours of the morning. Just moments away, however, perched at the most picturesque spot on the Bodrum Peninsula, lies the dazzling five-star Mandarin Oriental, Bodrum resort at Cennet Koyu, known for centuries as Paradise Bay, where the waters of the Aegean and Mediterranean flow as one. The breathtaking location combines a panoramic view of the turquoise sea and a landscape of untouched natural beauty. Days here can be lost swimming in the secluded, temperate waters, or walking among the pine trees and citrus groves, breathing in the fresh scent of tangerines and lemons, and absorbing the brilliant colours of the abundant bougainvillea. Guests can opt to enjoy a leisurely round of golf, explore the ancient ruins of the peninsula, or go horseback riding through the verdant forests. As day turns to night, Bodrum offers an abundance of delicious produce to entice the most discerning epicurean, from the vegetables, herbs and fruits harvested on its fertile terrain, to the fresh fish and seafood available from its pristine seas. With its connection to history, timeless and legendary, the location holds an undeniable mystical, magical appeal.
Your home in Paradise Bay Homer’s “land of the eternal blue” offers the ideal location for the unparalleled Mandarin Oriental experience. Set on an idyllic 60 hectare site on the northern side of the Bodrum peninsula, an expansive two kilometre stretch of shoreline and three private bays offer guests panoramic views over the Aegean Sea and the Turkish landscape. With interiors designed by Antonio Citterio, Patricia Viel & Partners, and featuring expansive sea views, the hotel’s stylish and spacious 127 guestrooms, suites and villas provide the most exclusive accommodation in the area. In signature Mandarin Oriental style, the property features a design aesthetic that effortlessly and exactingly blends together the local area’s rich culture with the group’s oriental heritage. Contemporary Turkish elements merge seamlessly with touches of the Far East amidst the spacious accommodation, which is open, airy and full of the captivating light of the Aegean. Inside and outside feel as one, creating a sense of harmony and space that both grounds you in nature and envelops you in utmost luxury.
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Dining is equally luxurious, with a selection of restaurants and bars serving gourmet fare to enchant every palate – from an Italian trattoria to contemporary Japanese, from casual poolside dining to local Turkish specialties. In addition, whether you have a sweet tooth or just fancy a morning pastry and freshly brewed coffee, you must visit the Mandarin Cake Shop, offering artisan breads, chocolates and cakes. No visit to Mandarin Oriental, Bodrum would be complete without a stop at Superjazz, the beautiful seaside lounge where guests gather to enjoy jazz, soul or lounge music, amidst a wonderful ambience complemented by remarkable views of the Aegean Sea. For pampered relaxation, the welcoming Spa at Mandarin Oriental sits in a secluded hillside location overlooking a lush valley, the perfect setting to enjoy a comprehensive range of wellness, beauty and massage treatments. Spread out over three levels, with uplifting views of the sea, this world-class retreat provides guests with perfect harmony of mind, body and spirit. An array of exquisite facilities, including beaches, sea-view swimming pools, beach clubs, water activities, mooring for yachts and luxury shops, further enrich the exceptional Mandarin Oriental experience. Of course it is all delivered with the peerless, personalised service for which the group is so rightly renowned. To be honest, you may never wish to leave. Fortunately, with The Residences at Mandarin Oriental, Bodrum, this blissful idyll can become home, complete with all the comforts a private villa bestows, yet made all the more special by the unsurpassed amenities of Mandarin Oriental and within easy reach of a glamorous seaside town, cultural attractions, and transport links. The Residences are set amid lush sprawling gardens, offering each resident their own private paradise. Each of the 98 elegantly appointed villas and 116 contemporary residences is designed with a fresh, yet timeless architectural style and benefits from the minute attention to detail that only internationally acclaimed architects can provide. Exuding minimalist elegance and offering a redefined Mediterranean lifestyle, The Residences at Mandarin Oriental, Bodrum – along with the accompanying resort hideaway – successfully create an authentic sense of home for a limited number of discerning international homeowners. Every feature of the three types of villas has been meticulously considered and skilfully designed by award-winning architects. The high ceilings of the duplex villas exude elegance, while floor to ceiling windows invite the outside in, offering a breathtaking view of lush flora and azure waters. The L-shaped floor plans establish the maximum level of seclusion and privacy, and include lavish interior and exterior gardens that can be customised to your preference. To create a sense of luxury and escape, each villa has a spacious terrace and infinity pool, as well as spa style bathrooms that echo Mandarin Oriental’s refined sensibilities. In the autumn and winter seasons, a contemporary fireplace within the spacious living room awaits your return from a restorative walk in the woods. The villas effortlessly combine the eternal principles of nature with innovative contemporary architecture. You can choose to relax and rejuvenate in the privacy of your indoor garden, which welcomes abundant natural light, or enjoy unspoilt views towards the horizon from the spacious outdoor terraces. Each room showcases breathtaking panoramic views of all the beauty nature has to offer. The villas have been designed for you to enjoy unforgettable memories day or night, from the glorious hues of blue radiating from sea and sky during the day, to spectacular sunsets reflected in the golden waters in the evenings.
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The 116 distinguished residences are perched on a landscaped hillside, surrounded by pine and olive trees. Available in four different sizes, they offer individual privacy, yet together create the warm atmosphere of a neighbourly community indulged with Mandarin Oriental’s legendary service. The majority feature full length glass façades, along with spacious outdoor terraces or gardens, oriented to offer stunning views over the pristine waters of the Aegean and Mediterranean as well as the surrounding pine forest. Beautifully appointed, The Residences combine functionality with aesthetics to create an unparalleled ambience and a truly unique lifestyle.
Mandarin Oriental’s legendary services such as 24-hour Mandarin Oriental concierge and security, in-residence catering with private chefs, daily housekeeping services within your home, and preferred access to hotel restaurants and bars are also at the disposal of the residents. Truly, you want for nothing. Extraordinary experiences abound at The Residences at Mandarin Oriental, Bodrum all year round as well. You could set sail on your yacht to enjoy the splendours of the Aegean and Mediterranean seas, become one with nature as you walk among the native flora, or simply relax in the privacy of your own home, cooling down in the infinity pool with a clear view of Paradise Bay. Homeowners also benefit from the resort’s host of activities, all thoughtfully developed for their pleasure – from savouring globally inspired dishes at the region’s top restaurants and cafes, to revitalising body and soul at Mandarin Oriental, Bodrum’s world-class spa.
The enchanting natural environment and superb sandy beaches of Paradise Bay truly distinguish the experience. Set aside for the sole use of villa and residence owners, these beautiful beaches and private bays offer an opportunity to soak up the sun or take a cooling dip in the crystal clear waters of the two-kilometre private shoreline. Lawn and deck sunbathing areas and a separate Kids’ Club area are among the amenities at the two exclusive clubhouses provided by The Residences at Mandarin Oriental, Bodrum.
At its heart, the Odyssey was about the quest to go home. Here at the exquisitely luxurious yet warmly welcoming Mandarin Oriental, Bodrum, discerning clientele can find the idyllic home of their dreams along the sandy shores of Homer’s “wine dark sea.”
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About the developer: Astaş Holding Partnering with Mandarin Oriental Hotel Group on this incredible opportunity is Astaş Holding, a developer that is redefining the meaning of high-end lifestyle, creating unique projects that respect the environment, contribute to the urban and social fabric, and generate high levels of added value. Astaş Holding creates exclusive lifestyles for an elite clientele with sophisticated tastes and expectations. Drawing on its international experience and connections, Astaş Holding is able to bring together the world’s leading brands, designers, architects and engineers, as well as the latest technologies, to flawlessly realise high-quality, world-class projects that offer unmatched standards of comfort in the most desirable locations. Tailoring its exclusive lifestyle concepts according to individual needs and expectations, Astaş Holding has carried out numerous cutting-edge projects in the luxury real estate market – with The Residences at Mandarin Oriental, Bodrum being the firm’s latest boutique destination.
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MANDARIN ORIENTAL, BODRUM RESERVATION OFFICE Cennet Koyu Çomça Mevkii Göltürkbükü Muğla, Bodrum 48400 TURKEY Tel: +90 (252) 311 1888 mobod-reservations@mohg.com www.mandarinoriental.com.tr/bodrum/
THE RESIDENCES AT MANDARIN ORIENTAL, BODRUM SALES OFFICES BODRUM Cennet Koyu Çomça Mevkii Göltürkbükü 48400 Bodrum - TURKEY Tel: +90 (252) 31126 26 sales@astasbodrum.com www.MOresidencesbodrum.com
ISTANBUL Büyükdere Cad. No: 127 Astoria Kuleleri B Blok Kat: 26 Esentepe 34394 İstanbul - TURKEY Tel: +90 (212) 215 29 29 info@astas-holding.com www.astas-holding.com 233 S I M P LY A B U D H A B I
Go Dutch! In the 17th century, Amsterdam was one of the world’s most important ports and a global hub for finance and diamonds. Times have moved on but there is a modern-day Dutch Golden Age to discover. Incredible art collections, stylish hotels, rich cultural attractions and a vibrant nightlife are just some of the spoils to be uncovered, reports Nick Rice
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here is much more to the capital of the Kingdom of the Netherlands than the timeworn clichés of the red light district and the cafés. This collection of 90 islands and 165 concentric canals, and the intricate system of bridges that link the islands together, is a never-ending playground for leisurely exploration. Amsterdam actually has 1281 bridges, triple that of Venice, and the Canal Ring, which racks up around 100 kilometres of waterways, was entered onto the UNESCO World Heritage list in 2010. And even though more than five million international visitors arrive every year, somehow it doesn’t feel cramped or chaotic. The Dutch are open, polite and friendly, but they are not especially known for their hospitality. They even have the saying “Visitors and fish stay fresh for three days,” so it’s a perfect place for a short city break. For more than five centuries art and culture have been the lifeblood of the capital and in the last few years the city has seen its finest museums re-open, including the Van Gogh Museum after its once every 40-years revamp, and the renowned Rijksmuseum. The latter is exhibiting one of Europe’s finest art collections once more, including major works by Rembrandt and Vermeer. The Rijksmuseum is a major draw following a $400 million renovation that has been underway since 2000, so buy the €15 tickets online to avoid the inevitable snaking queues. If your taste is less historical, the modern art at the Stedelijk is in stark contrast to the elevated works of the old masters. Contemporary art and design is in rude health in Amsterdam and a few days is enough to dip into a tantalisingly wide range of museums, galleries, restaurants and attractions. Cycling is central to the city’s character and with 400 kilometres of cycle paths, consider renting a bike to do some roaming. Likewise, a canal cruise is a great introduction to the city. One of the most important decisions you can make is where to stay in the city. If you arrive late and want to stay somewhere near Schiphol Airport, the CitizenM hotel is fantastic choice. You can walk out of the terminal and into the hip lobby and lounge with a great social atmosphere within a few minutes. There is also another CitizenM hotel a short train ride away nearer the city centre – a six-minute walk from the Amsterdam Zuid train station. With a European Hotel Design Award under their belt and properties in London, New York, Paris, Glasgow and Rotterdam, this tech-savvy hotel only takes bookings online, has self check-in and huge white beds facing wall mounted flat screen TVs with free ondemand movies. Modern essential luxury with absolutely no trouser presses, bellboys, towel swans, or pillow chocolates. The restaurant is open 24/7 and has a great ambience. CitizenM also offers complimentary bicycles – perfect for exploring.
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For those desirous of something more indulgent, the refined and classical sophistication of five-star luxury, then trust in the Waldorf Astoria. A beautiful cluster of six of the city’s finest canal houses comprises the Waldorf. Dating from the 17th and 18th centuries, and former homes to Golden Age aristocracy and nobility, the interior is immaculate in both period detail and modern day comfort. Statues and portraits of previous dwellers crown a stupendously carved wooden staircase and light streams in from the manicured gardens. Located in the UNESCO area of Herengracht, on the canal of the same name, the hotel offers 93 guestrooms and suites, each meticulously appointed and giving views over the canal waters and magnificent gardens. Dining at the Waldorf, in any city, is one of life’s pleasures. Here the Goldfinch Brasserie and the two-Michelin starred Librije’s Zusje restaurant must be experienced as they are regularly recognised as amongst the finest dining options in the capital. The Guerlain Spa is also not to be missed – a pre or post therapy swim in the luxurious surroundings of the spa sanctuary is relaxation guaranteed.
When you can tear yourself away from the soothing comforts of the Waldorf Astoria, then prepare to tick off some of the city’s best sights. A must-visit new attraction that has only just opened is the 22-storey A’DAM Toren. Catch a free 15-minute ferry from behind Amsterdam Centraal station and see how the tower, which used to be the home of Shell, has been transformed into a super cool creative district featuring cafés, clubs, a revolving restaurant with sweeping views, slick offices and Sir Adam – a 110-room hotel devised by the team who run the city’s luxury boutique favourite, Sir Albert. If you’re lucky enough to find it available, book the Loft suite – with seven-metre-high windows, a DJ set-up and two floors of contemporary luxury, it is a high point of exclusive accommodation in the city. And if you really love heights, check out the giant swing hanging from the tower’s top-floor observation deck! This former shipyard and its warehouses has a new lease of life as a vibrant waterfront district with a constant hum of activity and excitement.
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The beautiful Guerlain Spa at the Waldorf Astoria
another hotel constructed from a few tall ships and a lightship, playfully named Botel, all comprise the industrial waterfront and it’s now a base for the likes of Red Bull and MTV. In the same area is Kunststad, or Art City, which is home to over 200 artists and designers and worth checking out.
Another recent transformation that is well worth seeing is on the Amsterdam Noord waterfront. Cinema fans should visit the EYE Film Museum. Located over the water from Centraal Station, the building is hard to miss as it looks like a giant white sculpture, with the impression and angles changing depending on your viewpoint. The EYE is sure to have some interesting film screenings and exhibitions running on its four cinemas, as well as up-to-date blockbusters and an archive of nearly 40,000 films. The shop has some great film-themed gifts, such as James Bond masks, and the terrace has a great view of the river rolling by.
When all the exploring has worked up an appetite, visit Tolhuistuin – the former Shell worker’s canteen, from when the oil company occupied the whole Overhoeks zone for 70 years until 2011. Tolhuistuin, or Tollhouse Garden, is a trendy event space and with a concert hall, gallery and restaurant. The Pllek and IJ-Kantine restaurants are also good options, as is the cavernous Noorderlicht café, which is a hotspot in the summer months due to its al fresco DJs and live music.
Water is an almost ever-present feature in the Dutch capital and you can’t really get away from it, so it’s fortunate that the Dutch are particularly skilled at creating innovative areas where the water enhances the environment. The NDSM wharf is a fine example of this. An old shipyard, rusting trams and an abandoned crane, which are now lived in (the crane must be the smallest hotel in Amsterdam, with three rooms forming the Faralda Hotel), and
Whether it’s the brand new hip and happening side of the city, or the side which is steeped in beautifully preserved history, Amsterdam has great appeal for even the most seasoned travellers.
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King Loft suite at the Waldorf Astoria
Time for lunch... Amsterdam has hundreds of waterfront restaurants to choose from
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True Artistry – The Serras
Overlooking the Mediterranean Sea and with the alluring alleyways of the Barrio Gótico as its backyard, the Serras boutique hotel is a breath of fresh air in Barcelona.
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he Serras, a stylish new five-star boutique hotel wedged between the beguiling Gothic quarter and the rejuvenated waterfront of Port Vell in Barcelona, could have been called Hotel Picasso or something equally unimaginative that marketed the hotel based on the fact that the building was once the studio of Pablo Picasso.
Serras and never even know that some of the artist’s finest early works were created here… such is the subtlety. The hotel is actually named after the owner, Mr Jordi Serra, a Barcelona native and highly successful businessman who sold his global IT company and decided to become a hotelier, “because it’s a place where you see people having fun and you can have fun as well.”
That this glaringly obvious option was avoided is a telling mark of the sophistication and tasteful understatement which the hotel exudes. There are no Picasso reproductions on the walls, no novelty sculptures or ceramics dotted around and no big Picasso push. You could conceivably stay at the
While the hotel is not heavily promoted on the back of the Pablo Picasso link, Serra is understandably proud of the association. “There are works in
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museums that you can clearly tell were painted from here. It is very emotional for me to see that,” he says.
contemporary designer furniture and lighting – it’s a masterful blend of New York boldness with a dash of Catalan chic.
Located on Passeig Colom, close to the sea, the famous La Rambla promenade, and a short stroll from the luxury shopping on Passeig de Gràcia, the Serras is in a peerless position in the city. The building itself was designed by the notable 19th-century architect Francesc Daniel Molina, who also designed the spectacular Plaça Reial, or Royal Plaza. Just a few minutes’ walk from the beach and the rows of bobbing yacht masts in the marina, the lobby of the Serras is stunning. Floor to ceiling plate glass windows, split level floor, striking and
Many designers were interviewed for the privilege of creating the interior, and the task went to Eva Martinez, who has a reputation for well-executed works for restaurants in Ibiza and Barcelona. The hotel is expertly managed by the charming husband and wife team Antonio Bignone and Ona Matas, who diffuse any stuffy formality with their genuine warmness and natural, open manner. Antonio was formerly of the Bulgari in London and Ona was a senior member of staff at the Ritz and the Mandarin Oriental in the UK capital –
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and their experience at the top end of hospitality is clear in the details at the Serras. From the moment you check-in until the reluctant check-out, everything runs smoothly and effortlessly.
best location in Barcelona, the highest level of quality products and truly emotional guest experiences are the three secrets that make the Serras the place to be in Barcelona.”
General Manager Antonio Bignone spoke to Simply Abu Dhabi about the huge international impression the Serras has made in the short time since it opened in early 2015. “The Serras has managed to write history and has won [awards like] Best Luxury Hotel, classified as 1st in Spain, 2nd in Europe and 9th in the world, thanks to our flawless service, which combines the highest level of emotional experience with an understated luxury atmosphere. The
On the famous Picasso connection, Antonio says, “He was only 15 years old when his father rented him a studio right in this building. His father was also a portrait painter and he saw him as an incredible talent already at this young age. Picasso painted many famous paintings here… the very prestigious ‘Science and Charity’ is now exhibited at the Picasso Museum of Barcelona”. Reflecting on the decision to keep the Picasso link discreet, Antonio adds, “The easy thing
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would be to focus on such a detail. But from the beginning the Serra family wanted to focus on making the Serras the new destination for guests that are connoisseurs of life, and thus looking for 360 degree experiences that can really touch hearts.”
While the Gothic quarter is filled with great little tavernas and humble tapas places, it is essential to eat at the Serras. The Informal restaurant is managed by Michelin-starred Chef Marc Gascons, who after notable success with his family-run establishment in Girona brings a menu that is fresh, young and informal, but very much Catalan and Mediterranean in style. The cold ajo blanco soup with tender almonds and frosty tomato served in a small bowl is a perfect starter in warm weather and the hot and cold foie gras duo with green apple, brioche and caramelised onion is also amazing. From the land try the fillet steak tartare from Girona with fried egg for perfect simplicity. From the sea the salmon tartare with avocado, vegetables, wasabi and trout roe is a delicious meal that has the added bonus of the proceeds going to the Ciutat Vella’s Roure Foundation, a social outreach charity.
In terms of what the Serras has to offer visitors from the Middle East, Antonio says, “Middle Eastern guests are always more focused on perceiving experience and not to be just a number in a 400-room hotel. Here at the Serras our guests feel special emotions and are treated like part of our family. With only 28 suites, our guests breathe the real Barcelona and this is what luxury means for us nowadays.” Indeed, the Serras exceeds in the type of un-showy luxury that means everything feels just right, but without trying too hard. From the boat-shaped bath beneath the sash windows overlooking the harbour, the vibrant geometrical tiles, the state-of-the-art technology and the spectacular rooftop and restaurants – it’s all perfectly curated into a harmonious vision of good living. The only hard part of staying at the Serras is dragging yourself away from it to explore the city.
For daytime sunbathing and idyllic sundowners, El Sueño on the Serras’ rooftop overlooking the Mediterranean and the Port Vell Marina takes some beating. This is also the only Barcelona hotel with a roof terrace overlooking the harbour, with an infinity swimming pool. Guests can relax and bathe as well as enjoy drinks from the striking wood, iron and stone bar. And as the sun dips down it’s ideal for light meals such as Andalusian gazpacho with
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vegetable brunoise or anchovies marinated in vinegar, garlic, parsley and black pepper. On weekends the rooftop hosts live DJ sessions and it’s also available for private hire for up to 100 people for cocktails, or 50 for sit-down dinners.
in-room media hub, LCD HD Smart TV with over 75 local and international channels and complimentary Wi-Fi access. The en suite bathrooms come with double sinks, walk-in rain shower and Acqua di Parma bathroom amenities, and of course the Grand Suite Mediterraneo guests enjoy access to the rooftop solarium, pool and modern fitness centre.
The mezzanine bar Le Nine is a serene and well-appointed snug that overlooks the lobby and restaurant and provides the ideal space for a chilled out morning coffee, relaxed business meeting or pre-dinner drinks. Always on point with the details, the music and lighting changes here throughout the day to ensure the mood is just right. Le Nine is also the only bar in the city that stays open 24 hours a day.
The concierge team prove to be a huge help, taking care of any tickets or advice and tips. With your own personal Guest Relations Manager assigned to you at check in, guests can expect a genuinely tailor-made service. The Serras is also well adapted for families, with special rooms affording parents privacy while ensuring that children are safe and nearby in connecting rooms and two-bedroom suites.
With just 28 guest suites in total and a growing international reputation, advance booking at the Serras is highly recommended. If the Grand Suite Mediterraneo happens to be available, book it first and think about it later. It’s a stunning suite with two bedrooms and a separate living room. The master bedroom and living room have private balconies with sweeping sea views. The most discerning traveller would struggle to find a shortfall here, as it boasts the highest quality amenities and services. It is designed to sleep up to five guests and it features ‘lifestyle signifiers’ such as a Nespresso coffee machine,
The Serras is a home from home in a vibrant and fascinating neighbourhood. Following the €125million renovation of the Port Vell Marina, new businesses are being constantly attracted in. Soho House will soon follow on the coat tails of the Serras and the area will continue to thrive and evolve. The Serras is both a trailblazer and a beacon for sophisticated travel choices, leading the way for a new level of cultured accommodation in the Catalan Capital.
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THE SAVOY
A FA I R M O N T M A N A G E D H O T E L
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he Savoy is perfectly placed on the banks of the Thames, in the heart of one of the city’s most cosmopolitan areas. The ballet, opera and theatre of vibrant Covent Garden are just steps away; with the City, world-renowned museums and galleries, and the designer shopping of Knightsbridge and Mayfair within easy reach on foot or by taxi. The hotel boasts 267 rooms and suites, many of which afford spectacular views over the river and of iconic London landmarks, and which perfectly combine sophisticated style with discreet technology. Two brand new top-tier suites have been introduced recently, the Savoy Suite and the Royal Suite, demonstrating The Savoy’s commitment to evolve and remain at the forefront of the London luxury hotel industry. The new Royal Suite responds to the expectations of a modern luxury traveller and offers a more residential style of accommodation that meets the desire to ‘live in the space as if living at home’. Titans of industry, world leaders, and visiting royalty will now enjoy an apartment-like space that not only represents the height of luxury, but that also reflects the style of home they would choose to reside in themselves.
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The Savoy Suite, which can be comprised as one or two- bedroom accommodation, also offers a space that’s residential in style, with interiors that maintain the grandeur of The Savoy whilst adding a modern elegance for the 21st century clientele. By way of tribute to all artists who have been inspired and continue to take inspiration from The Savoy, the suite boasts a changing contemporary art collection so that guests may enjoy their own private exhibition where they reside.
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Both the Savoy Suite and the Royal Suite incorporate a luxury private bar for in-suite entertaining and 24hour butler service. Guests of The Savoy will find some of the most well known bars and restaurants in London within its iconic entrance. Kaspar’s Seafood Bar and Grill offers an informal yet luxury all-day dining experience within an elegant Twenties-style setting featuring a show-stopping seafood bar. Great British fixtures include the Savoy Grill, managed by top chef Gordon Ramsay, and Simpson’s-in-the-Strand, offering specialities like Scottish beef on the bone, aged for 28 days and carved at guests’ tables on antique silverdomed trolleys. The American Bar has long been one of London’s favourite meeting spots and is one of the most iconic cocktail bars in the world, and the Beaufort Bar exudes an unashamedly old-fashioned glamour, serving cocktails that push the boundaries. The most favoured of British traditions, Afternoon Tea, continues in the Thames Foyer, with finger sandwiches and exquisite pastries, while Savoy Tea, an arcade- style shop next to the Thames Foyer sells The Savoy’s own teas and tea accessories, and bespoke gifts. Melba is The Savoy’s gourmet coffee-shop, located on the corner of Savoy Court, featuring a mouthwatering range of signature éclairs hand-crafted by the talented pastry team.
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The Savoy welcomes guests for a quintessential London experience that blends elegant traditions with a modern luxe. As London’s most celebrated and glamorous hotel, a stay at The Savoy is the ultimate way to connect with London’s lifestyle.
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S I M PLY F I LM
BFG: Big Friendly Giant The worse the world gets, the more magic we have to believe in because that magic will give us hope and that hope will cause us to be proactive. By Fabiรกn W. Waintal / The Interview People
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Steven Spielberg
Q: Don't you try to reach a wide audience with stories that relate to the rest of the world outside United States? Well, that would be the ultimate dream from Hollywood, that a film that you're associated with has meaning beyond your own country or even beyond English-speaking countries. That would be my hope, that there are feelings and emotions in my film that everybody can relate to, that there doesn’t need to be a language barrier. Every movie is an orphan until it's adopted by someone and we hope our movie finds a lot of homes. Q: A few years ago, during the release of Tintin, you said that you were struggling to find a good love story. Are you still struggling with that?
Q: What's your inspiration to make more and more extraordinary films at this stage of your life? I'm just looking for a good story. We're always on the hunt for a good story, and sometimes those good stories are right in front of our faces. I have seven children. I read the book a lot to my children growing up, so I became the BFG while I was the storyteller of that book, and I sure know what it feels like to be BFG with my kids below me and me above them with a book between us. I know how that feels. Q: Do you still believe in magic in a world where outside the red carpets on Hollywood, there are homeless people begging in the streets and people struggling to make a living? All of us have to believe in magic. The worse the world gets, the more magic we have to believe in, because that magic will give us hope and that hope will cause us to be proactive. And when we have the wherewithal to help, it will put us into a position to get very proactive in the world that needs our attention more than it ever has. And so, hope comes from magic – and I think that is what movies can give people. They can give people hope that there will be a reason to fight on to the next day. Q: And how do you manage to find a balance between reaching a wide audience and working for your own personal artistic vision? I don’t really think of reaching a wide audience when I'm directing or choosing a project to direct, unless it's a sequel. Of course, if you're doing a sequel, you're only doing it because the first film was very successful, so that's where the anticipation comes in, because you've got an audience that is going to raise the bar on you. That's when I'm working for the audience, when their expectations are very high – not because I'm the director, but because the film that came before was attended and became quite popular. But I can't make movies and think about balancing. I just express what I express and I'm different, I think, as a person every year and that comes out in the wash of the film. Q: Really? The only time I start to think about that is when I’m asked the question, but for the most part, it's just work. This is something I'll be doing for the rest of my life. It's great fun, hard, engaging work and I just love it. And if I didn’t love it, I would just set out to sea and just sail the oceans for the rest of my life.
Well, I think this is a love story, The BFG. I think it's a different kind of love story, but it's a love story that children have for their grandparents. It's a love story that grandparents have toward their children. I think this is probably the closest I've ever come to telling a love story. Q: Were you aware of some of the negative things that Roald Dahl was said to have believed? I was not aware of them. This is a story about embracing our differences, and the values in the book and the values in the film – those were the values I wanted to impart in the telling of this story. Q: Your movie talks a lot about dreams and you were talking about the Hollywood dream, so I wonder what is your own dream life? Well, my dream life is my creative process. It really is, even when I'm in the depths of history. There still is a dream there that's operating, so everything we do, everything you do and everything I do is we play with each other's dreams and you make my dreams sound better maybe. Q: What about your real dreams, when you sleep? When I sleep? I couldn’t even tell you about that. For at least the last two years, I haven't slept much! I haven't had the chance because I've been working so much. Q: Did you try to recapture the spirit of E.T. with the movie BFG? Well, just for me, it was not really like going back to the past. It was revisiting something that I've always loved to do, which is just to tell stories that are from the imagination. When I do history movies, the imagination has to be put aside to vet the history and to do it accurately, and so there's not a lot of imagination except in interpreting a performance or finding the right camera angle to illuminate this storytelling. But with this, there were no barriers. They were gone and I felt liberated. I felt like I could do anything on this. It just brought back feelings I had as a younger filmmaker. Q: Is there anything adapted from the book, like when the Queen pops in? We certainly had licence to — a book and a film have a lot of differences. And we just added a little more plot to the movie version of the book, which we did in compliance and in complete cooperation with the entire Dahl family. We felt the Queen should certainly have equal time with everyone else during that sequence. We didn’t want to leave the Queen out.
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Q: What do you think the Queen will think about it? We think she has a good sense of humour and she'll be fine with that; she has equal rights of expression. We'll see what the Queen thinks when the time comes, won't we? I certainly think that there's a lot of values in this movie that are universal. This experience of telling the story of BFG was a non-cynical experience. And with a complete lack of cynicism, the story is not a comparison of how big BFG is compared to how tall Sophie is, but: how big do their hearts grow together? That was the metaphor that led me to want to tell the story. Q: You're a master storyteller. You strike this wonderful tone where fantasy meets reality. Was it difficult striking that tone and keeping the tone you've already set?
When you read a book out loud, you hear yourself reading it and then of course you're watching for the reaction that your kids are having to hearing it. I remember that when we got to civilisation and we returned from the foreignness of Giant Country and we came back to the familiarity of London, I remember my kids got really, really excited. Instead of saying, "Oh, we're back to civilisation," they wanted to see, and they were excited every time there was something describing how tall BFG was and how small everybody was at the palace, and there was something really special about the Queen's breakfast from the book. I think it's one of my favourite parts of the book. And we saved the Queen's breakfast for the very, very end of production. That was a nice one. Q: You're an American director and of course you've got English actors, but how did you rely on your cast to make sure you've got it right? This is one movie you do not want to cast American actors in and then have to release it in Great Britain and have to answer the question, "Why did you do that?" The greatest actors for me are the actors on this dance, in this picture, and the thing I pride myself in is how I love casting. It's one of the most important contributions I can make, even more than directing the actors. Just the casting of the right actor saves me a lot of verbosity. I've always wanted to work with Mark Rylance and we got a chance to do two films in a row. And being able to see Mark go from the clipped and close to the vast, yet very emotional, Rudolph Abel to suddenly the expansive and generous and sometimes cowardly and always courageous BFG, just to see that before my own eyes, that transformation was one of the most astonishing experiences I've ever had in my entire career working with anybody. And with Rebecca and with Penelope and Jemaine who speaks English but comes from New Zealand, I just feel that we were a family and we continue to be. Q: Mark Rylance is also going to be in Ready Player One... Should we assume that you'll find a role for him in the next Indiana Jones? Well, I just feel lucky to know him. I feel very, very lucky that I got to meet Mark. I think I'm even luckier that we became friends. I have a lot of acquaintances over 44 years of directing television and film and I haven't brought a lot of people into my life from the movies. I have such respect for Mark, but we have so much fun together as friends, as buddies, and that's not why I'm casting him in Ready Player One. I'm casting him in Ready Player One because there's nobody better to play Halliday than Mark Rylance, if you know the book. But to have the friendship and to have the professional working relationship is just a dream come true. That's my goal.
The Fine Art of Filmmaking The acclaimed film director Robert Altman once said, “Filmmaking is a chance to live many lifetimes.� If that sounds appealing, then the Met Film School in London is the ideal place to learn everything there is to know about practical filmmaking. Nick Rice goes behind the scenes.
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W
e live amongst an abundance of screens. Whereas once the TV and the cinema screen were a treat of entertainment, now the screen is so ubiquitous that we scarcely notice how much it features in everyday life. Whether it is for work, pleasure, or most commonly both, screens constantly inform us of and reflect back the world at large. But the information flow needn’t be a one-way system, and rather than just consuming everything we see and hear projected from screens, we can become the creators of what we wish to see. Record numbers of people are making their own film content and the rise of video viewing in media consumption is staggering. With a mobile phone, everyone is effectively a filmmaker. The difference is in doing it well: like any art form, filmmaking is a complex craft. The filmmaker is an artist with a broad palette, and inspiration can be harnessed to capture and tell unlimited stories.
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The school offers a wide range of qualifications, from Masters and BA(Hons.) degree courses through to intensive and highly practical short courses, such as From Story to Screen in Eight weeks and Six-Month Practical Filmmaking. Aspiring students can find details in the prospectus of a wide range of specialisations, including screenwriting, producing, directing, editing and documentary.
For those who want to learn how best to convey or express an emotion and a message via film, the mechanics of filmmaking must first be studied. The rules must be learned before they can be broken or further developed. As the Times Arts Correspondent Richard Morrison wrote, “The ingredients needed to produce compelling art and entertainment remain what they have always been: inspiration, perspiration, craftsmanship, and a thorough grounding in the history and techniques of the genre. In the end the people who muster those qualities will be the ones who dominate the new media.”
Simply Abu Dhabi sampled the Documentary Filmmaking course and found it to be an incredibly dense and valuable learning experience delivered with an expertly-devised and effective system. The tutors at the school are all recognised industry professionals, and the documentary course, taught by the British film director and director of photography Sasha Snow, was a privilege and a pleasure. The number of students in any class is kept low – on the documentary course there were seven – to ensure effective student-tutor engagement.
The Met Film School in London was established in 2003 and over the years it has earned a solid reputation in training the next generation of screen creatives. The school is located in leafy Ealing, just a 20-minute tube ride from Central London. As the school shares grounds with the internationally renowned Ealing Studios, a fully operational television and film production company, there is a real feeling for the reality of the industry, as actors and grips, gaffers and cinematographers take coffee and lunch breaks on the lot. In recent years Ealing Studios have been used for high-profile productions such as Downton Abbey, Nowhere Boy, My Week with Marilyn, Prince of Persia, The Iron Lady, Star Wars: Episode Two, and Victor Frankenstein. A new film starring Gerard Butler is presently being filmed and students at the Met Film School can easily gain insight into the daily machinations of a functioning film set. The school also has its own independent production company – Met Film Production – which celebrates its 10th anniversary this year and specialises in fiction and documentary feature films for theatrical release.
The school has close ties with the National Film and Television School in Beaconsfield, Buckinghamshire, and many NFTS graduates teach at the Met Film School. Accreditation comes from the highly respected University of West London, which is also based in Ealing. In addition to this, the accredited programmes have the Creative Skillset tick and the Met Film School is one of a select number of schools in the UK to boast full membership of the International Association of Film and Television Schools (Centre International de Liaison des Ecoles de Cinéma et de Télévision – CILECT).
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YouTube Spaces, our students in Berlin now benefit from access to state-of-the-art training spaces including a fully equipped 1,500-square-foot studio. The partnership with YouTube is another step for Met Film that brings education and the screen industries together. YouTube creators learn from the production and technical expertise of Met Film students, and students get valuable insights in the rapidly growing online content community.”
Tom Sainsbury, Director of Admissions and Marketing at MFS, explained to Simply Abu Dhabi what students can expect from the range of courses available. “Met Film’s goal is to inspire a new generation of fantastic screen creative professionals, and for the last 14 years we’ve been doing just that. Whilst universities tend to bridge research and education in the hope of remaining current, at Met Film we do things differently. Instead, we bridge education and industry, bringing them together in inspirational environments driven by screen production, great coaching, and fabulous role models.”
The facilities at both sites are exceptional and students can expect to work with state-of-the-art equipment, computers and stages. Core to the success of the institution, though, is undoubtedly the tutors and naturally they are all at the top of their game. As Sainsbury explains, “Met Film School’s tutors are all working screen professionals – TV and film directors, producers, screenwriters, editors, animators and other industry specialists with numerous awards, including BAFTA, Emmy and Oscar nominations. They are graduates from well-known and respected institutions with postgraduate teaching qualifications and Higher Education Academy membership. Our friendly and professional team of tutors will help you develop all the practical skills you need to succeed in your chosen career path and to become a smart screen creative.”
In 2012 the MFS expanded and opened a new school in Berlin, smartly located in the hip neighbourhood of Neukolln/Kreuzberg. Much like the MFS in the UK, the Berlin branch is based at an active film studio – BUFA. This famous studio has been home to film productions since the Weimar Republic and is one of the oldest film studios in Europe. The facilities here include greenscreen, a live TV studio set up, a standing set used for TV production and a large stage for commercial use. The studio is also home to in-house production companies, a camera and lighting rental house, a prop house, a set building company and post-production facilities. This close proximity to the industry offers MFS students an obvious in-road into the professional world of filmmaking.
Tried and tested, the Met Film School is a reliable step into the world of filmmaking. As Sainsbury concludes, “If your ambition is to succeed in the wonderful world of film, television and online media, and you’re looking to work with passionate and creative people at the forefront of the industry, Met Film is the right place for you.”
“Students learn about all the fundamentals of screen content production from film to TV,” Sainsbury says. “The school started just three years ago and has grown strongly, launching a new MA in Documentary Filmmaking this year, as well as a number of courses in specialisms such as editing and web series production. And thanks to a recent exciting partnership with
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Mercedes-Benz S 63 AMG 4-Matic Cabriolet By Damien Reid
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ince I was a kid, I’ve had the soundtrack in my head of a low-burbling, 3.5-litre V8 engine that belonged to a neighbour’s royal blue, 1971, 280SE 3.5 Mercedes-Benz which drove up my street every morning.
Still cold and running rich, it puffed the finest vapour of blue from its twin pipes and, in fact, I can still smell its over-rich, full-leaded petrol as I write this. To this day, that same driver still goes about his daily routine and whenever I’m home, I’m transformed back to my childhood and the sound of that bass and ball bearing exhaust idling up my street. It was the car that sold me on that W111 series; later, in my teens, I saw its convertible equivalent, even then a classic, parked in downtown Sydney. It was a 280SE 3.5 convertible in bottle green with tan leather. It looked like the sort of car Doris Day or Princess Grace of Monaco would cruise the Riviera in and it’s not even worth thinking how much it would sell for at auction today. But it’s always been a special car back then and even more so now. I should have guessed that the first S-Class convertible to be launched by Mercedes-Benz since that model was going to be a lavish affair – and boy, was I not disappointed. Given that Mercedes has not built a drop-top version of its flagship since 1971, I’m guessing that this 2016 equivalent, the S 63 AMG convertible I had for one stunningly fine day on the Cote d’Azur, is going to be the Doris Day car for future generations. There was a time until about the 1970s when you could have a luxury car that was also a convertible. Some were even four-door convertibles and indeed, the initial concept of this S-Class cabriolet was a four-door convertible called the Ocean Drive that was shown at the 2007 Detroit Auto Show. So while the production version has reverted back to the more sensible two-door option, this car is still about carrying four fullsized adults in luxury, in fair weather, with the roof down. Bentley and Rolls-Royce look out, you have some competition. The setting and the build up to the reveal was perfect. From our arrival at Nice Airport, we were shuttled to the helipad where a 10seater Airbus helicopter, fully trimmed by AMG as part of their
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S I M PLY C A RS By Damien Reid & Nick Rice
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new push into bespoke interiors for the private aviation and helicopter industry, was waiting, fuelled and primed ready for take-off. With seat trims, timber and brushed alloy accents taken straight from AMG’s car range, the helicopter set the tone for the rest of the day, landing at a chateau for lunch with a brace of the new convertibles ready to hit the road. Priced at DHS781,000, our particular car included a few extras such as naked carbon fibre wing mirrors and splitters, a matt pearl paint job and – being the AMG 63 – it had the dinner plate-sized ceramic disc brakes hiding behind 19-inch alloys. To accommodate what is claimed to be the largest fabric roof applied to a current production car, the new open-top adopts a unique windscreen with greater rake and a more substantial frame for added rollover protection. It also receives a uniquely designed rear end with extra stiffening within the rear bulkhead, rollover structures designed to deploy from behind the rear seats, a tonneau cover that opens to reveal a large storage compartment for the roof, and a longer boot lid. To get the most enjoyment, it’s best to settle in with the key on accessories only to fiddle with things like seat and mirror positions, then push the button in the centre console which lowers the roof in just over 20 seconds. Then hit the starter, push the button to open the exhaust valves for maximum aural pleasure and drink in the sound of that luscious twin-turbo, 5.5-litre V8 without the sound deadening distractions of a roof. It was a magic way to kick off the journey. Idling out of the chateau’s gravel driveway and down the narrow country lanes, its width was apparent as were the low profile tyres meeting the rough edges of the road, for those rims looked as though they could scuff easily through the provincial village streets. Once cleared of the town, the winding roads that meandered between the French Riviera and the Swiss Alps were tailor-made for this car, with its near instant throttle response and mountains of power I never needed to fully use. As with the latest S 63 Coupé, the S 63 Cabriolet develops 577bhp, giving it 129bhp more than the twin-turbocharged 4.7-litre V8 in the S 500 Cabriolet but 44bhp less than the recently upgraded twin-turbocharged 6.0-litre V12 found in the S 65.
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Power is delivered to all four wheels via AMG’s seven-speed automatic Speedshift gearbox and a 4Matic four-wheel drive system engineered to provide a nominal 33/67 front-to-rear torque split. There are three driving modes to choose from: controlled efficiency, sport and manual. Thanks to a new version of the Mercedes Airmatic air suspension that’s been recalibrated for the sportier driving dynamics of the S 63 AMG, its ride height can also be raised and lowered by 30mm, making the notorious speed humps in our part of the world less of a headache without sacrificing optimum grip on the open road. Due to my own fault enjoying the hospitality of the chateau and catching up with a few friends, I’d found myself the last to leave and running a bit late. And as I was also flying solo, I had to rely completely on the car’s navigation system to pilot me for a few hours through an unfamiliar country – which was good for two reasons. It gave me the chance to throw myself at the mercy of the Mercedes infotainment system and it worked a treat, not getting me lost and calculating its route on the move quickly. It also meant that I had no choice but to put the foot down, and when you’re on a lonely mountain pass that very well could have been used as a stage of the Monte Carlo Rally with the roof down on a stunning spring day, all was good in my own, top-down world.
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Despite its 2110kg mass, the S 63 AMG soaked up bumps at speed with remarkable grace and perfect poise – not kidney belt tight but not loose enough to bottom out either. Its torque curve is such that overtaking situations presented themselves far more frequently with a quick flick back of one or two of the AMG box’s seven-speeds, and then it might as well have bent time with the speed it rocketed past the slower moving traffic. On paper, Mercedes claims it gets from zero to 100 km/h in 3.9 seconds which is half a second faster than the twin-turbo, 12-cylinder Bentley Continental GT Speed, and tops out at a governed 250 km/h. It’s no sports car, but it covered masses of ground in next to no time. What seemed like just a few minutes of fun later was actually about two hours and several hundred kilometres covered without so much as a bead of sweat raised from either the athletic pace of the drive or the sun on my head, thanks to the cooled seats and chilled air pumped through the air curtain built into the headrest. As I turned into the hotel, the cars were parked and right in front, sitting as pride of place straight from the Mercedes Museum, was a stunning W111-series convertible in the exact same bottle green with tan leather. Doris Day, Princess Grace, take a bow.
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Ferrari California T By Damien Reid
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M
ention the word Ferrari, which is officially the most recognisable brand in the world above Coca-Cola, Ford and McDonalds, and people immediately think Formula One.
The marketing people from Maranello have worked hard over the past four decades to push its F1 programme and with it, the company’s volumeselling mid-engined sports cars for the road, up to and including the delicately quick 488 GTB and Spyder. But Ferrari has a long and distinguished career which preceded F1 as we know it today, and it’s an era of classic GT touring that the California T taps into with its V8 engine mounted up front and 2+2 seating capacity. Long before the F1 World Championships began in 1950, there was the Le Mans 24-hour race which began in 1923, and even earlier, Grand Prix racing from 1901, which consisted of two-seater cars and a riding mechanic. This was Enzo Ferrari’s style of racing, competing in an Alfa Romeo from 1924 until he formed his own business in 1947. With big GT cars his passion and races like the Mille Miglia that ran for 1000 miles on public roads from Brescia to Rome and back via his village from 1927 to 1957, Enzo preferred the bigger front-engined cars. He always preferred one as his daily driver over the more popular mid-engined sportsters right up until the day he died in 1988. The California T is a beautifully executed tribute to this glorious era of Ferrari’s bigger cars and is named after the 250 California which was born to take on the likes of Aston Martin and Jaguar in the mid 1950s.
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The modern day iteration of the classic California was unveiled at the 2008 Paris Motor Show featuring a front-mounted 4.3-litre V8 engine and folding hardtop with styling that heavily reflected the famous 250 of 1957. The recently launched California T is a facelifted version of this, featuring a more contemporary nose, and in keeping with current emission standards it now has a smaller, 3.9-litre, twin-turbocharged V8 engine – yet it still manages to squeeze out an extra 70bhp over the old unit to deliver 552bhp. And like the original, it also differs from the sports versions like the 488GTB in that it’s not the instant go-to option with strong competition from Mercedes AMG, Bentley, old stalwart Aston Martin and even sister company Maserati all producing big dollar, 2+2 GT convertibles. The other notable characteristic of the original cars is that red was not the standard colour. That was reserved for Ferrari’s F1 cars, so the big GT coupés carried an air of elegance and sophistication that the bare bones racing versions couldn’t afford. Unlike today, where a Ferrari can be considered the default for those who want a supercar but are not sure what to buy, back then it was just one option to be compared against some worthy competitors. At an even DHS900,000, consider the Cali T “the thinking person’s Ferrari”, because in this category, buyers are spoilt for choice. Every panel except for the roof is new on the California T, while the interior comes in for a mild refresh. Underneath it’s also 12% stiffer with quicker steering.
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How does that equate to the road? It’s probably the most drivable Ferrari in the current range, as easy as a BMW or Audi to negotiate the urban jungle or inner city parking stations with feather-light steering. And unlike its sportier brothers, it offers great visibility over the shoulders as well as being the easiest to climb in and out from. It’s not as stiff or as focused as the 488 GTB but it’s not designed to be either, as one of the California T’s mandates is to attract new buyers to the brand who may not want the raw performance feel of the other twoseaters. And this it has achieved, with 70% of California T buyers being first time Ferrari owners. Thankfully, there’s not much turbo lag in the lower gears. Although it is noticeable, it’s not at the point of being annoying and while there’s more lag in the higher gears, you are rewarded with more urge without having to shift down or work the engine hard. Stab the throttle at 80 km/h and there's a slight pause before the turbos start doing their thing, but it's so brief that it's soon forgotten. There's plenty of sound, but it's a fatter, bassier resonance than we've come to expect from a V8 Ferrari. So in other words, it maintains the qualities of a fine grand tourer on the road, with response at higher revs being genuinely impressive. On the open road, the turbo V8 unleashes to deliver that exquisite Ferrari, high-pitched scream that sends shivers down your spine as it passes 100 km/h in 3.6 seconds and tops out at 315 km/h. Ride comfort is astonishingly good, yet this car really is fun to hustle. The secret is its 53% weight bias, achieved by tucking the engine tight up against the front firewall and ballasting out back with a transaxle gearbox. So instead of ploughing out of turns like some big-front-engined GTs do, this one neutral-steers just like the 1950s racers it’s styled on. On paper, the California T does many of the same things its competitors do, and some of them do a few things better, but it carries a rich and more diverse history than the mainstream stereotypical red sports cars which carry the Prancing Horse badge.
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Photography : Charn Kamal Singh Virdi Contact Number : 056 5383569 Facebook : www.facebook.com/charn.kamal.photography Instagram : @charnkamal Email : charn.virdi@gmail.com 500px : www.500px.com/charnkamal
Porsche 911 Turbo By Damien Reid
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T
here are a few poster cars that every motorhead must drive at least once in their lives, and the Porsche 911 Turbo is right up there at the very top.
It’s an iconic supercar that was around long before the word ‘supercar’ was a thing. And while it has had dozens, if not hundreds, of competitors try to take it on over the past 41 years, it still ranks as the benchmark car for status if nothing else. It’s safe to say that without the 911 Turbo, Porsche wouldn’t be where it is today. And while it makes up the tiniest percentage of Porsche’s global sales when you compare it to the rest of the 911 range, which itself is the smallest selling model in the Porsche portfolio behind the Cayman, Boxster, Macan, 718, Panamera and Cayenne, it’s the car that all these are sold against. In short, every person who buys any other Porsche does so because they eventually want the 911 Turbo – simple as that.
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Straight up, the turbo is instantly recognisable from the regular 911 fleet due to its wide body and rear wing. It was the case with the initial 3-litre model code-named 930 back in 1975 and it’s carried through to today with this current 991 version being 49mm wider at the front compared to the previous 911 Turbo and a whopping 134mm wider over the rear haunches. It’s used to house the giant 20-inch diameter wheels which put all 540bhp to the road courtesy of Porsche’s PTM all-wheel drive system, complemented by rear axle steering, adaptive aerodynamics and Porsche’s Torque Vectoring (PTV). The Turbo S adds a roll stabilisation system and ceramic brakes to the mix. The new front design, with side air blades and narrow LED daytime lights comprising a double cross bar, gives the nose a wider stance together with the additional louvre for the middle air intake. Its side profile is distinguished by the trademark turbo air intakes in the rear wheel arches and the new wheel design, while the rear features new three-dimensional tail lights as well as reshaped, dual exhaust tailpipes exiting from the body moulds. The rear lid screen has been reworked into a three-part design right and left with longitudinally aligned fins, while the centre has a separate cover for improved air induction to the rear-mounted engine. The LED headlights, together with the Porsche Dynamic Light System, include four-point daytime running lights, dynamic levelling control, speed-dependent running light control and dynamic cornering lights. Thanks to Porsche remaining faithful to the original upright profile of the 911 that debuted back in 1963, it doesn’t require the moves of a contortionist to climb in behind the wheel. Unlike its competitors from Ferrari, Lamborghini and McLaren, you feel like you’re sitting in a car and not lying in a bathtub. As a result, visibility is brilliant all-round, there’s acres of headroom and with its scissor doors, you can also get out of it with some dignity – not like you’re practicing for a limbo competition in front of the hotel valet each time. All this makes it eminently useful as a daily drive. And when you add that it has boot space up front for small luggage and two seats in the rear that fold flat for extra storage, it is the most practical supercar money can buy.
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The new-style interior is a welcoming environment, with dual-zone climate air-con, electric sports seats that offer both heating and cooling, a full length sunroof, and a media system that features integrated sat-nav in the instrument cluster as well as a new flatscreen centre console display. Our test car included the optional brushed aluminium interior package for good measure. Add to this that it has a better steering lock than virtually any car on the road regardless of price or category, and it seems that the new 911 Turbo is almost too good to be true, ticking every practical convenience box as well as being the ultimate eye-catcher in traffic. But to the crux of what this car’s all about: performance. You would think that after so many years and models of the 911 Turbo, it would be hard to top the impact of previous versions, but somehow they do it each time. And this new 3.8-litre, twin-turbo is mind-blowingly good. Three seconds flat to 100 km/h, 10.4 seconds to 200 km/h, from zero to 200 and back to zero in 17 seconds, and a top speed of 320 km/h is mixing it with the best of the best. But if you want more, you can always opt for the Turbo S which gets you to 100 in 2.9 seconds, 200 in 9.9 and maxes out at 330 km/h. But I’m very happy with the regular turbo, thanks. Oddly though, for a car that’s easier to drive around town than its rivals from Ferrari, McLaren or Lamborghini, testing it at speed over the same roads I took the other three on left me slightly perplexed. On paper it has the figures and the acceleration times you cannot question, but it’s so tightly sprung in Sports Plus mode that it couldn’t match the pace of the others over the same road. It was bouncing over the ripples and dips in the road as opposed to soaking them up as the others did, which I found surprising. I’ve driven over the same stretch in competitors including the Ferrari 488 GTB, Lamborghini Huracan, McLaren 570S and 675LT, and even though they were also in their most hardcore sports mode, they covered the distance in less time as they were more compliant to the not-so-perfect surface conditions. But whichever way you cut the cake, all of them are mightily quick and it’s perhaps nitpicking at best to say the 911 Turbo lacks pace on the open road. Because it doesn’t. However, at DHS584,300 for the base price or even our test car which came heavily loaded with options that brought it to DHS641,760, it’s still favourably priced to any of its competitors mentioned above. Selecting Sport Plus mode also alters the aero kit deploying a front spoiler by 75mm which would drop at 140 km/h anyway in normal mode, and also extends the rear wing by 25mm which then protrudes further to 75mm with a seven-degree pitch to collectively give the car 132kg of downforce at 300 km/h. With 540bhp on tap and 710Nm of torque, the 3.8-litre benefits from larger compressors for its two turbochargers and Porsche remains the only manufacturer to use two turbos with variable turbine geometry in a petrol engine. This gives it its never-ending power curve and torque flexibility. The new 911 Turbo continues to set the standard for everyday supercars for those who really need, or want, to use their performance rocket 365 days a year. It’s easy to drive fast, it’s comfortable and practical, and it has an options list as long as its power curve – not to mention that given its everyday practicality, its raw speed is phenomenal. If I had the means to own a collection of cars that would suit my every whim, that collection could not be complete without a Porsche 911 Turbo in the stable. But if I had just enough to only afford one, selfishly-decent, decadent sports coupé that ticked just about every box, from inner-city transport to race track with the occasional school run in between, it would have to be the 911 Turbo. So either way it wins – and given its 41-year history, I’d expect nothing less.
Second Century Sensation Glowing new horizons are here for luxury British sports car legends, Aston Martin. Nick Rice reports on the trailblazing Aston Martin DB11.
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ston Martin, the iconic British giants of the automotive world, are heralding a new era. The company calls it their ‘Second Century’ plan. Aston Martin was founded in 1913 by Lionel Martin and Robert Bamford, and over the last 100 years the prestigious brand has created a long list of classic motors. For the 21st century, car lovers can expect a groundbreaking new range of Aston Martin motorcars, the first of which is the DB11 – the bold new figurehead of the illustrious DB bloodline and an authentic, dynamic sporting GT in the finest Aston Martin tradition. This is the 10th DB since the DB1 of 1948, and it was unveiled at the 86th International Geneva Motor Show in March. This 5204cc twin-turbochaged V12, eight speed automatic, rear-wheel drive automotive sensation demands to be seen and experienced. With an acceleration of 0-62mph in 3.9 seconds and a top speed clocking in at 200mph, it is a solid statement of intent. Aston Martin Chief Executive Officer Dr Andy Palmer says, “We aspire to make the most beautiful cars in the world. The DB11 is the absolute embodiment of what an Aston Martin should be and we have worked tirelessly to ensure that the DB11 combines both exceptional design with the latest technology throughout. A brand new bonded aluminium platform, clever aerodynamics, a new characterful twinturbo V12 and class-leading infotainment systems are just a few aspects which make this the sports car that will proudly spearhead Aston Martin’s second century plan.” Instantly apparent is a brand new grammar; the design codes have evolved and the overarching effect is a more futuristic, sophisticated beast. Cutting-edge aerodynamics are allied with a formidable new in-house designed 5.2-litre twinturbocharged V12 engine. The structure has also progressed to a bonded aluminium form that allows for better use of space and is significantly stronger and lighter. This pioneering new model ushers in a new design era for Aston Martin, and it continues in fine form the lauded family line which gave us classics such as the DB2/4, DB5 and, most recently, the DB10 developed specifically for James Bond. 278 S I M P LY A B U D H A B I
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G500 G
ulfstream Aerospace, one of the world’s most recognised and innovative aircraft manufacturers, has put its best foot forward with the all-new Gulfstream G500 to bring you tomorrow’s flying experience today. Used as an extension to business and everything in between, the G500 can be a home in the sky. With virtually limitless customisation options, the G500 cabin is exactly what passengers need it to be: a space to work, relax, recharge and entertain. Taste is important, which is why the cabin can be completely customised. Choices are boundless and from the finest materials, such as handmade carpets of silk or cashmere, handstitched leather and wood veneers sourced from around the globe. The innovative 41.5-foot/12.65-metre-cabin is engineered to impress. Fourteen large Gulfstream panoramic windows bathe the cabin in bright natural light and make for stunning aerial views. Top-of-the-line acoustical advancements allow the cabin to remain quiet and soothing in flight. The cabin’s uniquely shaped cross-section offers plenty of headroom as passengers move about the cabin. Jet lag is a thing of the past — passengers are comfortable en route and refreshed on arrival with 100 percent fresh air circulated every two minutes and fatiguereducing lowest altitudes in the industry, even on missions up to 5,000 nautical miles/9,260 kilometres.
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Pedestal-mounted, height-adjustable conference tables are on hand for quick business meetings, while multiple divans, sleeping options and high-speed media systems line the cabin for relaxation and recreation.
The G500 saves operators more than hours. Equipped with two efficient, all-new Pratt and Whitney Canada engines, long range missions at Mach 0.85 are possible at lower operating costs.
Creating a unique cabin environment is possible. The Gulfstream Cabin Management System allows passengers to fine-tune lighting, window shades, temperature and entertainment to fit the mood, all from personal touch-screen devices.
Innovations in technology are key to delivering the industry’s next breakthrough. The G500 is equipped with a new era of advanced flight controls in the Gulfstream Symmetry Flight Deck™ and immersive Phase-of-Flight™ intelligence. Using two active control sidesticks, the crew can now navigate with enhanced visual and tactile feedback for the ultimate flying experience.
Whether it is a car, train, plane or even internet connection, we live in a world that values speed. The uncompromised and unmatched range and speed of the G500 can connect distant cities such as Los Angeles to London, and have passengers home in time for what matters most in life. The aircraft can even blaze across the sky at a maximum speed of Mach 0.925.
No other aircraft manufacturer innovates like Gulfstream. The all-new G500 stretches the limits of high-speed travel. It’s the only jet in its class to combine incredible speed with significant range. Just another way Gulfstream creates and delivers the world’s finest aviation experience.
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Harry Winston Premier Moon Phase 36 mm
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